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Jose Moiirinho 

Jack O’Connell 

Lewis Hamilton 

Will Ferrell 

Keith Richards 

Woman Of The Year 
Emilia Clarke 

\ THE 

The sex 

GO’S Solo Artist Of The Year 



T^The secret 
^ diaries 
* of a movie 

UiinuT l@Q0nfl 

won’t die 


Woman Of The Year 




^ R.\LPHLAUREN.C0|H/P0[.0 






TAG Heuer 


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— — j 


Watch Xavier Dolan's exclusive interview at 




Experiencing the value of uniqueness. 
Unleashing the power of personality. 
Combining comfort and personal taste. 

Made to Measure is the Giorgio Armani line designed for men who seek style. 

Their own. 










Editor’s Letter 



The dock is ticking on 
David Cameron's 
plans for a legacy. 




James Dean reborn; 
Gabrielle Aplin strums 
our heartstrings; plus, 
get trolleyed! Mobile 
cocktail bars are taking 
over the capital. 


Hugo Rifkind 

How not to ... break up . 



Next year's 
Bentayga SUV 
steers between 
power and 
luxury, on 
and off the 
tarmac. GQ has 
exclusive access. 


What I Wear 

Michelin-starred chef 
Jason Atherton serves 
up his go-to garments. 


Tony Parsons 

It's time for cat-calling 
builders to button it. 


Our Stuff 

A design for life by 
GQ's Creative Director. 



Tailor-make your trip 
with adventurous 
excursions to take you 
out of the comfort zone. 



Join the skeleton 
crew with Graff's 
new tourbillon. 


Bachelor Pad 

We shine a light on the most spectacular furnishing 
features at the 13th annual London Design Festival. 


Michael Wolff 

Has Gawker's gossip-in-chief overstepped the 
mark? Faced with backlash from major media 
players, Nick Denton may be left out in the cold. 


The Lab 

Make a resolution to give your home office the 
hnest possible printer; plus, we keep 
tabs on the best e-cigarettes. 



DJ Nick Grimshaw 
changes his tune 
with a newTopman 
collection; H&M 
and Balmain's 

Style Shrink. 



Ermenegildo Zegna's citrus 
scent Acqua di Bergamotto 
is as sharp as its suits. 


GQ Portfolio 

Products, events and offers. 

OCTOBER 2015 GQ 21 



Lewis Hamilton wears jacket by Marc 
Jacobs, £l,03^,marcjacobs.gc5nn. Shirt, £139. 
Bow tie, £65. Both by Boss, 
Earrings, Lewis’ own 

David Gandy wears suit, Shirt, £109. 
Bow tie, £49. Fragrance: BoK Bottled, £43 
for lOOml. All by Boss, 

Christoph Waltz wears suit by Prada, 
£2,445. prada. com. Shirt, £139. Bow tie, 

£59. Both by Boss, 
Will Ferrell wears suit, £2,850. Shirt„£195. 
Bow tie, £115. All by Dolce Gabbana. 

Paul Rudd wears suit, £2,040. Sbirt,, . , 

£250. Both by Gjvenchy by Riccardo tisci. Bov\^Lsby Balenciaga, 

£125. ^ I 

Sam Smith wears jacket by Alexander ' 
McQueen, £1,230. 
Shirt by Ralph Lauren Purple Label, £255. Bow tie by Lanvin, £80. Earrings, Sam’s own 

Jose Mourinho wears three-piece suit,^ ‘ 
£1,900. Shirt, £450. Both by Dolc.e «' ^ 
Gabbana. dol^gabbana.conrLBowJtjelDy - ‘ 
Chester Berrie, £50.'' 

232 Lewis Hamilton 
238 Keith Richards 
242 David Gandy 
247 JJ Abrams 

249 Jack O’Connell 

250 Stuart Broad 
253 .Giorgio Moroder 
260 Marc Newson 
260 George Osborne 

263 Blur 

264 Christoph Waltz 
266 Will Ferrell 

269 James Bay 

270 James Corden 
272 Christopher Raet 

275 - Lionel Richie 

276 Nic Pizzolatto 
278 kim Jones 
281 Paul Rudd 


Dress by Balmain, £7,100. 

•k * * TiHB lafThtA'IJINJUAL 


54 Emilia Clarke 

OCTOBER 2015 GQ 2.3 



104 The anti-social network 

It was the perfect storm: a prince, a president 
and their billionaire friend. GQ's notes on the 
Jeffrey Epstein sex scandal, by chris ayres 

140 Mark Mix’s East End 

From broths to banh mis, GQ's new Contributing 
Editor (and Shoreditch super-chef) takes us on 
a tour of London's hippest foodie hangouts. 

The Drop 

Elbe Goulding hooks up with Radio 1; 
Jonathan Franzen's next big idea; 
band reunions are better with a back 
story; architect David Adj aye builds 
his reputation; the accidental heroes of 
English sport; philosophy and beards; 
new voices, new choices - it's party time 
in politics; this month's cultural roundup. _i_ 




The office is a mineheld of 
harmful characters - here's 
how to take command; gesture 
politics; Sex Shrink; England 
rugby star Jonathan Joseph 
tackles a GQ&A; Bear Grylls on 
how to save a life; plus, low-cal 
booze to blitz your belly. 



All the labels in this month's 
issue, from A to Z. 


GQ Intei 

Eight record shops that go 
off track and sell more 
than just music. 

1 56 The few good men 

In 1940, Britain's air force was drawn into 
the battle for our skies. Seventy-hve years 
on, we honour those who flew in the fight 
for our future, by dermot o'leary 

298 Everything you ever 
thought you knew about 
Marion Brando is a iie 

Secret recordings of Hollywood's greatest 
ever actor reveal a man who fuelled his work 
with personal tragedy, by Jonathan heap 

304 The art of irony 

Jason Alper's irreverent eye and satirical style 
has catapulted 21st-century pop art out into 
the world. GQ meets the man who plays with 
perceptions, bydylanjones 


GQ Power 

The cars, couples and 
cutting-edge fashion: 
GQ's guide to life in the 
fast line is here. 

><»u ewr 
Ihoujuhl >oii 

Clarion Bramlo 

]» a lk‘ 

OCTOBER 2015 GQ 25 


19 3 4 

126-127 New Bond Street, Tel. 0207 2903 500£ 








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CHIEF SUB-EDITOR George Chesterton 

DEPUTY CHIEF SUB-EDITOR Jennifer Bradly senior sub-editor Aaron Callow sub-editor Lee Stobbs NEWS EDITOR Conrad Quilty-Harper fashion editor Nick Carvell features editor Matt Jones picture editor Alfie Baldwin interns Shereen Sagoo, Max Williams features assistant Will Grice 

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Contributing Photographers 

Miles Aldridge, Guy Aroch, David Bailey, Coppi Barbieri, Matthew Beedle, Gavin Bond, Richard Burbridge, Richard Cannon, Kenneth Cappello, Matthias Clamer, Dylan Don, Jill Greenberg, Marc Horn, 

Benny Horne, Norman Jean Roy, Tony Kelly, Steven Klein, David LaChapelle, Brigitte Lacombe, Joshua Lawrence, Sun Lee, Peter Lindbergh, Steve Neaves, Zed Nelson, Mitch Payne, Vincent Peters, Sudhir Pithwa, 
Rankin, Mick Rock, Mark Seliger, Mario Sorrenti, Soren Solkaer, Mario Testino, Ellen von Unwerth, Mariano Vivanco, Matthias Vriens, Nick Wilson, Richard Young 



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Managing Director 



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Annie Holcroft, Pam Raynor, Jamie Bill, Jean Faulkner, Shelagh Crofts, Albert Read, Patricia Stevenson 

Chairman, Conde Nast International 


30 GQ OCTOBER 2015 ©Ciinique Laboratories, LLC 

There’s a science to looking good. 

Clinique For Men . Where dermatological know-how meets common sense. 
Specialised skin care formulas help give your skin exactly what it needs to look its best, 
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Every 'day the planets bring about their own revolution, in the shape of the fascinating rotation 
of the heavens - true poetic astronomy. Van Cleef & ArpeU has captured this perfect mechanism in its creations: 
the course of the sun, the ballet of the stars, the enchantment of a glittering sky. 

Measuring time takes on a sense of wonder and escape* . 

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Midnight Planetarium 
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Mars, Mercury, Venus. Jupiter, 
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★ ★ ★ THE 18TH ANNUAL ★ ★ ★ 

#speedoflight (a)lewishamilton (a)gqcreative 

#daenerysonfilm (a)emilia_clarke (a)hunterandgatti 



The GQ Men Of The Year Awards have been 
running for 18 years now, born out of a desire 
to hnd a physical manifestation of our mag- 
azine and a way to celebrate all the various 
disciplines reflected within it. In that time 
we have lionised more than 400 men - as 
well as more than a few women - who have 
all represented GQ in their own way from 
David Cameron and Tony Blair to Elton John 
and Rory Mcllroy, from Jimmy Page and 
Noel Gallagher to Benedict Cumberbatch and 
Michael Caine. 

This year is our biggest Men Of The Year 
issue ever, as is our Men Of The Year Awards, 
sponsored by Hugo Boss, at the Royal Opera 
House. More guests. More stars. More scented 
candles. More wine from Justerini & Brooks. 
More square acres of midnight-blue tuxedos. 

The magazine you're reading now is the 
result of 12 months' work, 52 weeks in which 
we have scoured Hollywood backlots. Formula 
One pit lanes. Premier League football clubs, 
stadium dressing rooms, Paris catwalks and 
Downing Street drawing rooms. All our 
winners are presented here for your delecta- 
tion - probed, primped, and photographed @ 




#holdbacktheriver (3)jamesbay (3)cailunngq 

OCTOBER 2015 GQ 45 

uniroRS I, urn* 


@ by the very best in the business. The Men 
Of The Year Awards is produced by a very 
small team on the magazine, lead by our Senior 
Commissioning Editor Stuart McGurk. For 
the last six months or so it was Stuart's face 1 
would see when 1 left the ofhce at night and 
often when 1 arrived in the morning, too. You 
could judge what kind of night he had had by 
the number of espresso cups on his desk, or - 
on the odd occasion - the number of empty 
beer bottles leaning against his well-thumbed 
copy of the new Jonathan Franzen. Td like 
to thank Stuart, Features Director Jonathan 
Heaf, Creative Director Paul Solomons, Events 
Director Michelle Russell and all the team for 
producing what is undoubtedly the best Men 
Of The Year issue ever. 

This particular issue is never easy to make, 
but then it's always the most difficult to forget. 

So thank you. 

In the early days of MOTY (as the awards 
are affectionately known in the office), we 
used to make frequent trips to Los Angeles to 
meet the various celebrity agents and publi- 
cists we needed to get on board. We would fly 
in, stay at The Beverly Hills Hotel, pick up a 
Mercedes and spend three or four days taking 
meeting after meeting after meeting, ticking 
imaginary boxes as we went. At the end of 
each day, a debrief was necessary, not least 
because we needed time to decipher many of 
the (often mixed) messages we had received 
since breakfast. Often we'd meet in The Polo 
Lounge or drive down to the Hotel Bel Air 
(hoping to remember to wear a tie) or simply 
And a dive bar in Koreatown. 

Then, of course, there was Trader Vic's, when 
it used to sit opposite the CAA building in 
Beverly Hills. One evening, having just had 
a meeting across the road, we decamped to 
Vic's, to discuss the pros and cons of a day that 
had felt suspiciously like a real-life version of 
Entourage. As we were relaxing in the quaint 
pseudo-Polynesian dreamworld, working our 
way through the cocktail list - did we want a 
Tiki Bowl, or would we prefer a Rusky Mai Tai? 
- our imaginations began to take hold. 

As is the way with men who have made the 
transition from adolescence to adulthood with 

#lineduponthegrid @lewishamilton @gqcreative 

#jackoconnellgetsmedieval (amarcogrob 

only the merest of stopovers in the cocktail 
bar (and let's be honest: anyone who's ever 
got drunk on Pina Coladas or Tequila Sunrises 
never wants sugar in their drink again), we 
were being careful, asking the barman lots 
of tedious questions about the amount of 
alcohol we could expect in our beverage, and 
whether or not we would be wanting another 
one as soon as it kissed the bar towel (per- 
sonally, 1 have never seen the point of "short" 
cocktails, as the minute you've sipped one, it's 
time for another). 

We soon hit our stride, though, and as 
we did. Bill Prince - our esteemed Deputy 
Editor and luxury-goods connoisseur - started 
playing with his napkin, drawing odd shapes 
on it with his monogrammed Mont Blanc 
(that's how Bill rolls BTW, although his ini- 
tials only stretch to BP), drifting in and out of 
conversation as he wove his ballpoint magic, 
scribbling away as though he were working 
with a Rotring pen. He did this for about 20 
minutes, and when he was finished proudly 
held up his homework and said, just a little too 
loudly, so that some of the silver-fox execu- 
tives and their "secretaries" turned round to 
gawp, "Look, I've just invented the Mapkin!" 

We sipped our cocktails and wondered what 
the hell he was talking about. 

His napkin contained a particularly inven- 
tive map of the world, with an emphasis on 
California and the West Coast of America, like 
one of those cartoon maps you buy in tourist 
shops, where tall buildings, museums, and 
mountain ranges appear in huge relief. He had 
obviously been thinking about the commer- 
cial possibilities of this while he was drawing, 
and seemed convinced that this idea could 
be spun-off so that every cocktail bar in the 
world would contain a map of the local neigh- 
bourhood, a guide to where you might And the 
best pizzas, the best Pina Coladas and where 
silver foxes might go looking for their next 
batch of "secretaries". 

And then six weeks later Google invented 
Google Maps, Bill tore up his Mapkin and we 
barred ourselves from Trader Vic's. Forever. 

Enjoy our Men Of The Year issue, enjoy 
your cocktail. 

46 GQ OCTOBER 2015 








Photographing Ant-Man's Paul Rudd, 

GQ's Leading Man Of The Year, is 
internationally renowned fashion 
photographer Arnaldo Anaya-Lucca. 

"It was my hrst time shooting Paul," says 
Anaya-Lucca. "He kept the crew laughing 
all the way through the shoot. We even 
hlmed a short skit for his friend who was 
turning 50. It was hilarious and really 
showed his raw talent." © 



Star of the upcoming 
blockbuster Star 
Wars: The Force 
Awakens, John 
Boyega writes of 
his time working 
with its director JJ 
Abrams, this year's 
Cultural Icon Of The 
Year. "JJ taught me a 
lot about manhood," 
says Boyega. "He 
lives by his word 
and has a very high 
moral standard." 



AA Gill continues 
his quest to crack 
the golhng world. 
This month, he 
considers the effect 
the sport has on his 
mental wellbeing: 
"Only as a golfer 
would you get the 
yips - uncontrollable 
tremors before a 
stroke. Who'd play 
a game that could 
actually make you 
clinically mad?" 



Director and former 
Python Terry Gilliam 
writes about 
Christoph Waltz, 
our Actor Of The 
Year and the villain 
in the new Bond 
him. Spectre. "What 
can I say about 
Christoph?" says 
Gilliam. "He comes 
from a family of 
very talented people 
and he carries that 
lineage in him." 

Mark IIIX 

The proprietor of 
Hix restaurants - and 
GQ Contributing 
Editor - guides us 
through eating and 
drinking well in 
London's East End, 
an area he pioneered 
with Rivington Grill 
and Tramshed. "A lot 
of the capital's food 
culture has moved 
east," says Hix. 

"Now, it is probably 
the best eating-out 
district in London." 

Mariano \ IVANGO 

A regular contributor to GQ, Mariano Vivanco 
was the man behind the Rihanna cover for 
our 25th-anniversary issue, as well as our 
Colin Eirth shoot for last year's Men Of The 
Year Awards. This month, Vivanco turns his 
lens on Sam Smith, recent winner of two 
Brits and four Grammys, and this year's Qroc 
Solo Artist Of The Year. "I immediately loved 
working with Sam," says Vivanco. "He's a 
very sweet, humble and intelligent guy." 

\rnaldo ANAYA-LUCCA 





Author Danny 
Wallace prohles 
Nic Pizzolatto, our 
Writer Of The Year. 
"His True Detective 
came at a time 
when network 
execs had taken 
the biggest risk: 
trusting audiences to 
be smart enough to 
have patience." 

This year marks the 75th anniversary of the Battle of Britain, and 
in his hrst article for GQ, television and radio personality Dermot 
O'Leary tells of his childhood obsession with that dehning moment of 
the Second World War. "Many of my generation have grandparents 
who went to war," says O'Leary. "So it's quite tangible. I'm always 
fascinated by the human-interest side of it." 


52 GQ OCTOBER 2015 

Photographs Arnaldo Anaya-Lucca; Mariano Vivanco; Rex 

M AD£:IN::l:TAky; 





To celebrate the opening of William & Son's new Mayfair flagship, 
we asked third-generation Swiss watchmaker Laurent Perrier to 
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Nothing is nnore innportant to this prinne nninister than ‘legacy’, but his plan to quit before 2020 
makes his status that much harder to guarantee. Please see Europe, terrorism, the SNR welfare... 


N ot much about May's election result remains a mystery. 

A combination of fear (of the SNP), loathing (of the 
Lib Dems) and grudging economic admiration (for the 
Conservatives) secured David Cameron his slim yet sen- 
sational majority But one question lingers: why on earth, 
just weeks before polling day did the prime minister announce his 
resignation? In a TV interview in late March, Cameron stood in the 
kitchen of his constituency home (a room, it seems, best avoided 
whichever party you lead) and confessed to the BBC's James Landale 
that he would not seek a third term. "I've said I'll stand for a full 
second term, but I think after that it will be time for new leadership," 
he revealed, before adding, "Terms are like Shredded Wheat - two 
are wonderful but three might just be too many." 

Was it cock-up or conspiracy? A brilliant, pre-planned announce- 
ment or just a straightforward "he-asked-so-I-told-him" moment of 
candour? I don't know the answer but I'd put my money on the last. 
Cameron has been prone in the past to that rarest of political ten- 
dencies - to instinctively say what he is thinking. "Too many tweets 
make a twat", "Calm down dear" and "She [The Queen] purred down 
the line" are a few examples of his ability to ignore the self-editing 
voice that lives inside every politician's brain. I might well be wrong 
about all this. But the problem with the alternative theory - that 
Cameron's apparent attack of openness was, in fact, carefully scripted 
after a long night of strategic chin stroking with his advisors - is that 
it doesn't make one bit of sense. It didn't when he said it and it still 
doesn't do him any favours to have revealed that, post-2020, he'll 
be seeking alternative employment. To suggest that it contributed 
in some way to the Tories' victory has to be wide of the mark. "Tm 
voting for Cameron because he's buggering off before the next elec- 
tion" doesn't have the ring of authenticity as a motivating factor for 
any vote. Not even Samantha Cameron's. 

What his announcement did do, however, is give those who are 
vying to replace him (see GQ May 2015 for 
a full list of runners and riders) a proper lift 
in their loafers or, for the home secretary, 
her kitten heels. This was certainly the case 
among those who assumed Cameron would 
lose or at least end up perilously placed atop 
a creaking coalition. But even the Tory con- 
tenders who believed Cameron would win 
with a majority (if they exist) will have been 
pleased by his moment of honesty. For it 
meant they had a clear target to run at and 
plan for. Not a certainty, but as close to one 

as you'll get in British politics. Cameron could, of course, perform one 
of the great reverse ferrets and hnd some credible reason to stand again 
but I very much doubt it, not least because he didn't just say it - he 
really meant it. Fifteen years as leader and two exhausting terms as 
PM will have been quite enough thankyouverymuch. 

But Cameron's decision to come clean about his intentions has 
caused him a headache, albeit a pretty high-class one. Victory in 
May has secured his place at the top table of Conservative leaders 
and he'll be remembered now not as a coalition leader but as a Tory 
prime minister who won a general election the pollsters said he would 
lose. No one can take that away from him, but his legacy, for those 
interested in issues beyond the history of the Conservative Party, is 
yet to be nailed down. Trying to achieve that with the leadership clock 
ticking so loudly in the background will be much more of a challenge. 

But before legacy must come survival. Cameron's stunning elec- 
tion success will be tarnished forever should he be forced out of the 
door earlier than he would wish. What might cause this? It's hard 
to imagine an unforeseen event that could tip him out into an even 
earlier retirement but, as ever in politics, anything is possible: a fresh 
economic crisis his opponents could credibly claim he had a direct 
hand in, a personal scandal (don't waste a hver on that one) or a 
badly handled national security crisis. The government's programme 
of welfare reforms is so potent it carries a slight risk of disaster for 
the PM. The planned £12 billion of cuts won't come without real 
pain and now working tax credits form a substantial part of his 
strategy, he'll be targeting millions of hard-working families and not 
beneht scroungers. The always well-informed Times columnist Tim 
Montgomerie estimates this could cost those families around £1,400 
a year. Not where you want to be as an outgoing One Nation PM. Not 
where you want to be as work and pensions secretary either and Iain 
Duncan Smith, despite having signed up to the plan, could still walk 
if he decides he is being asked to deliver the impossible or the impos- 
sibly painful. Those cuts may be offset by 
the provision of the new "living wage" - a 
long-held mission of former special advisor 
Steve Hilton that Cameron has now helped 
to deliver. Welfare is a dangerous area but 
I would still only rate it as a low risk to the 
PM's ideal exit plan. 

Much more likely is that Europe will 
contrive to be the cause of Cameron's 
unscheduled downfall; a real Rubik's Cube 
that will prove to be one of the biggest 
strategic challenges of his political ® 

Cameron’s election 
success will be tarnished 
forever should he be 
forced out of the door 
earlier than he would wish 

OCTOBER 2015 GQ 61 



Winning the argument: David Cameron addresses an election rally in St Ives, Cornwall, 5 May 2015, two days before he stunned the pollsters 
and pundits by securing a parliamentary majority for the Conservatives and a second term as prime minister for himself 

career. How does he extract real reform 
from Europe's leaders when they know the 
polls are in his favour and that British busi- 
ness is broadly on his side of the argument? 

How does he construct a referendum vote 
that is seen to be - and actually is - fair? 

How does he give members of his own 
cabinet, who include at least one of his 
closest friends, the room to campaign 
against him freely? How does he patch 
his party back together again after a vote 
which, if you believe the current polls, will 
bring so many Tories' long-held dream of leaving the EU to an end? 
And how does he run a successful argument to stay "in" while ensur- 
ing that the "out" campaign isn't capitalised on by Ukip in the way 
the SNP cashed in after the independence referendum? In short, if 
Cameron can negotiate his way through a successful referendum with 
our place in the EU and his credibility intact, he then has a real oppor- 
tunity to hand over to a new leader on his own timing, as late as 2019. 
Mess it up and his chance of getting to 2018 becomes slimmer, as does 
the hope of keeping control of his departure and his political legacy. 

Assuming Cameron does succeed, what does this preferred legacy 
look like? As I've written here before, his personal goal will be to say 
forever more that he left the country in a better state than he found 
it. Unless the economy takes a serious dive (not beyond the realms 
of possibility) he has this in the bag. Economically, Cameron has, so 
far, played a blinder. His welfare and education reforms will most 
likely stand the test of time. The country, he would say, is also now 
safer than when he became prime minister. This claim will be harder 
to argue given the dramatically reduced state of our armed forces and 
the increased terrorist threat. But he is already using his slim majority 
to toughen up Britain's terror legislation and will continue to do so as 
he gets closer to the exit door. This plan is also, of course, constant- 
ly vulnerable to events. A major terrorist attack on British soil with 

multiple loss of life is something he has 
so far avoided. He'll be praying - and not 
just selhshly - for this to remain the case. 

Eor his party he'll deliver boundary 
changes that will seriously enhance 
Conservative chances of success in future 
elections. He's increased the prospects for 
the party's talented pool of women. The 
claims by some that Cameron is instinctive- 
ly sexist are utter rubbish. More important- 
ly he's given the Tories back the experience 
of governing over two terms and the conh- 
dence that they can run Britain for quite some time yet. He may not 
have got the country to love him but he did persuade the public, after 
so many years of Labour rule, to put their faith in the Conservatives 
again. Given where the party was when he took over as leader that 
is, by anyone's measure, an epic achievement. Scotland will continue 
to be a limpet mine attached to Cameron's legacy ambitions. He held 
off the SNP in the referendum and won't be in any hurry to repeat 
the experience after Nicola Sturgeon's election triumph. Whatever 
pressure she'll bring, he'll want to walk out of Number Ten as the PM 
who kept the union together, never mind the private views he might 
have about what most likely lies ahead for Scotland. 

So with a legacy secured Cameron's next big issue is how and pre- 
cisely when to leave. Some big brains within the party will already 
be worrying away on this one. It's no coincidence, I suspect, that 
Conservative chairman Lord Eeldman has undertaken a review of 
party organisation, structure and a membership that's halved over 
the past ten years. Will Cameron want to put the leadership of the 
party into the hands of this dwindling, increasingly unrepresenta- 
tive bunch? Or will he hnd some other method of ensuring the right 
man or woman gets the job? 

Team Cameron also cannot rely on the leadership contenders to 
play conveniently to their timing or strategy. The unexpected (>) 

He may not have got the 
country to love him but he 
did persuade the public 
to put their faith in the 
Conservatives again 

62 GQ OCTOBER 2015 

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@ election victory will have made George 
Osborne think again about his chances. If 
the party decides a big personality is the 
crucial leadership characteristic required 
to win the next election (and Osborne 
will work this out before they do) then 
hell stick to plan A and back Boris. But 
a steady sharp and experienced hand on 
the tiller may now turn out to be what's 
needed. And Osborne has the time and 
influence to roll the pitch to his advan- 
tage. As chancellor, first secretary of state, 

PMQs stand-in and chief strategist, he has a lot of levers to pull to 
keep options open for himself. Couple that with a steady economy 
and a Labour Party in disarray, with little prospect of pushing back 
the SNP, and things could look good for an Osborne leadership bid. 
It may be that, come 2019, Boris' biggest advantage - his colour- 
ful and unpredictable personality - looks a little risky and out of 
fashion. He'll want a big cabinet job when he steps down as Mayor 
next May to shore up his own "I-can-run-and-do-things-that-matter- 
too" credentials. I don't imagine Osborne will miss the opportunity 
to offer his considered view on precisely which department Boris 
should be handed the keys to. 

Osborne is the only current contender who will not do anything to 
overtly cut across Cameron's exit plan. The others will, within reason, 
do what serves them best. The power to keep them under any proper 
control was lost the moment Cameron embarked on his kitchen-sink 
drama. The smart ones will not want to undermine the PM too early 
or ineffectively. There's currency in playing the loyal soldier and 
being part of a controlled handover of leadership. Indeed, there's a 
huge opportunity for the Conservative Party more widely to show 
itself to be serious, grown-up and above the petty in-fighting that 
dominates so much of British politics. A seamless handover would, of 
itself, be a tribute to Cameron's calm and pragmatic leadership. Don't 
hold your breath. Self-interest always trumps party interest and so 
the stretching of leadership muscles will happen - it's just a matter 
of when. Cameron knows this and will allow a degree of distancing 
to take place but only at his own timing. 

Boris, who is not currently beholden to cabinet collective responsi- 
bility, has the most freedom to take contrary positions, as he has, to 
varying degrees, throughout most of Cameron's leadership. Number 
Ten will put up with this, but if it goes too far and Cameron's leader- 
ship becomes properly undermined, then a mood change will quickly 
follow. It will, perhaps ironically, fall to Osborne to keep Boris under 
control. He'll be doing so at Cameron's bidding but, depending on 
the status of his ambitions at that stage, for himself also. If anyone is 
capable of riding several different horses in a race then it's the chan- 
cellor. He's kept Boris broadly on the straight and narrow since he 
was chosen as the mayoral candidate. Can he do it for the next four 
or five years with Boris wondering if he'll be competing against him 
for the top job? 

As long as Theresa May remains home secretary it's hard to see how 
or why she would kick-up in any substantive way. If she decides that 
she must draw a distinctive and different position to that of her prime 
minister - and the man who has done more to promote her career 
than any other - then she will only do it late in the day. The other 
wannabes won't have the opportunity to cause any serious damage 
but events can throw up opportunities. Sajid Javid remains a strong 
contender and will be thinking hard about how and when he should 
play his hand. He is an EU "outer" but is more than smart enough not 
to box himself into a corner on the issue. Another irony for Osborne, 
who has done more than anyone to promote Javid as a man for the 
future. Would the apprentice stand against his master? Without hes- 
itation, say those close to him. 

For Cameron's part he would do well to 
keep all potential successors sweet and give 
them the benefit of his experience. He's a 
winner now and they should want to hear 
what he has to say, even if it is coated in 
a layer or two of obvious self-interest. 
But he'll also quietly do all he can to keep 
options open for his friend Osborne. And 
he'll not have to do much to encourage his 
team to do the same. 

The timings and process of Cameron's 
actual exit are, in his dream scenario, rela- 
tively straightforward: 1) Work to achieve all of the above until, most 
likely, the summer recess of 2019; 2) Say his goodbyes at the autumn 
party conference (a "no notes" speech would be a fitting way to end 
as he started) and; 3) Light the leadership-contest firework and stand 
back. This would give his successor just enough time to bed in before 
a general election in May 2020. 

His exit successfully negotiated, Cameron must then plan his first 
year out of office. This is the easiest item on his to-do list because the 
obvious answer is not very much. He'll want to give the new leader of 
the Conservative Party room to And their own way. Sam will become 
the more professionally energetic member of the family and may 
want to launch her own business. Her husband should take a back 
seat, spend some proper time with the children, play plenty of tennis 
and reflect for a while on his success. And he should write the book, 
which he'll do himself, sitting at his home computer. He writes more 
of his own material than he is given credit for and I would expect the 
book to be one of the most insightful, readable and amusing prime 
ministerial memoirs. 

That first six months to a year over, it will then be time for former 
prime minister Cameron to plot his next course. It will be extremely 
lucrative and why not? But I would not expect him to follow the Tony 
Blair route to riches. Cameron doesn't crave international recognition 
in the way Blair always did and he'll learn from his mistakes. He loves 
living in Britain and won't want to ostracise himself in the way the 
former Labour leader has with his global gallivanting. 

For this reason I sincerely hope the David Cameron Global 
Foundation - Chipping Norton, Dubai, New York - is not the way he 
goes, at least not for a good while. I think he may consider developing 
some of the work he did in government and opposition, and wouldn't 
be surprised if he takes on a role to encourage wider participation 
in volunteering - particularly among Britain's teenagers. This could 
easily translate internationally. Cameron has always been passionate 
about his National Citizen Service and privately wished it could have 
been made properly compulsory. The various organisations involved 
in the voluntary sector made clear they would never have stood for 
such a radical move. However, events since its launch - in particular 
the increasing number of young recruits heading from the UK to join 
Islamic State - have highlighted the desperate need for more shared 
experiences between Britain's young people from all backgrounds. I 
can't think of a better or more important domestic mission for him 
to take up. Were David Cameron to succeed, those who voted him 
into Number Ten would be more willing to look the other way as he 
fully enjoys the fruits of life out of it. 

m MORE For these related stories, 

► Blue Thunder! (Andy Coulson, May 2015) 

* And You Thought A Week Was A Long Time In Politics 

(Andy Coulson, December 2013) 

> The Dark Heart Of Ukip (Andy Coulson, October 2013) 

Unlike Blair, Cameron 
doesn’t crave international 
recognition. He loves 
living in Britain and won’t 
want to be ostracised 

64 GQ OCTOBER 2015 







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Corndiani Boutique 
1 3 1 - 1 32 New Bond Street 


Harrods,67-(35 Brompton Road 
Selfridges, 400 Oxford Street 

Brown Thomas 
88-9S Grafton Street 

Photograph Sebastian Kim/Management + Artists 



JAMES Dean once aphorised, "Dream as if youTl live 
forever, live as if youTl die today" Question is, how exactly 
did he live? "He's a complete enigma," says Dane DeHaan 
^pictured), the 29-year-old who plays Dean in this month's . - 
biopic Life. "I realised 80 per cent of what people were telling 
me about him was a myth. One biography would say he smokes 
Marlboros, the next Camels, the next something else..." 

Following the hnal weeks before Dean's untimely death in 
1955, Life attempts to blast through the hction. While hlming, 
DeHaan {Kill Your Darlings^ also got a glimpse into the world 
of another piece of Hollywood girlnip: his co-star Robert 
Pattinson. "At the Berlin premiere, Robert's fans turned up. 

It was insane. Twi/ighf fandom is odd in the way it's very 
hormone driven. A lot were there just to get their rocks off." 

Does he suspect his turn as Dean will cultivate equally 
pheromoned-up groupies? "Well, I haven't been sent any 
erotica," he says, "yet." Will Grice 

Life is out on 25 September. ^ > ■:' 

Coat, £1,006. Suit, 
£1,270. Both by 
Dior Homme, dior. 
com. Shirt, £225. 
Tie, £195. Both by 
Burberry London. 
Shoes by Tod’s, 
Socks by Falke, 
Pocket square by 
Hugo Boss, £35. 


OCTOBER 2015 GQ 69 

TEN years ago, Scott Schuman left fashion sales to 
look after his daughter, and began photographing 
the street style of his fellow New Yorkers. Today his 
blog. The Sartorialist, clocks up more than 14 million 
views per month. Hell, even Kanye likes him: "He's 
a historian," said the rapper, "marking the feelings of 
this generation one photo at a time." This month, a 
new hook commemorates a decade behind the lens, 
featuring looks from Marrakesh to Mumbai, Bangkok 
to Bali. We asked Schuman for three style lessons... 

The Sartorialist X (Particular Books, £20) by Scott Schuman is out on 3 September. 



"This guy is wearing some really 
wide-waisted, Eighties-style trousers. 
When you see something on a hanger 
and you go, 'Oh that's really cool, but 
I'm not sure if that's me,' that's when 
you need to try it on and see." 


"You can't update retro. It kind of defeats the 
purpose if you try to modernise it. You just have 
to go for it. Don't be afraid of going all out." 


"The reason this works is because all the tones go well 
together. The burgundy ties it all in - it's slow, intricate 
and almost makes the outfit look like a solid." 

i I 



So, designer 
and illustrator 
Andy Tuohy why 
should we buy 
your new book 
about him 
directors? You've 
got 30 seconds to 
convince us... 

"Anyone who reads it 
can become an instant 
expert on a director. We 
wanted to draw from 
six continents, including 
names such as Krzysztof 
Kieslowski and Yasujiro 
Ozu, as well as plenty of 
female directors - I think 
the best thing readers 
can get out of the book 
is discovering the work 
of someone new. What 
makes it different from 
other compendiums 
is that it is illustration- 
led, and each portrait 
is rendered stylistically 
as one of the director's 
characters. It's also a 
chance for readers to 
remind themselves of 
just how good some of 
the more mainstream 
directors are. People such 
as Tim Burton are known 
for their more recent 
films, which may not be 
that great, but if you look 
over his earlier ones, you 
realise how brilliant he 
is. The book is there to 
inspire a love of film." 
AToZ Great Film 
Directors (Cassell, £14.99) 
by Andy Tuohy and 
Matt Glasby is out 
on 3 September. 



Electro duo Disclosure's 
debut album. Settle, > 
seemed to explode ex < 
nihilo; tbeir second, | 

Caracal (out on 25 
September), bas enjoyed 
months of bype. We 
plotted their brief 
history in Spotify plays. 

/ 18 July 2014 

^ Interest has been 
spurred by a UK 
tour and the debut 
of the band’s 
collaboration track 
“The Mechanism”. 

May 2015 

The singles “Holdii 
On” and “Bang 
That” - their first si 
music for two year 
starts a fresh uptic 

31 May 2013 

Settle launches. 
Sample review: “So 
much sheen you’ll 
want to tile your 
bathroom in it.” 

23 October 2014 

Mary J Bilge’s video for 
the Disclosure-produced _ 
m song “Right Now” 

MAY 2013 

AUGUST 2015 

70 GQ OCTOBER 2015 

Wildest dreams: 
Originally an 
farm, the estate 
has been 
refurbished with 
a modern-meets- 
vintage design 


Set over a 100-acre estate with restaurants, bars and spas - plus beds for more 
than 140 people - Soho Farmhouse has shifted the party scene to Oxfordshire 

DON'T be fooled by the name: Soho 
Farmhouse isn't a structure, it's a village. The 
latest addition to the territorially ambitious 
Soho House group's portfolio is a country 
hotel comprising more than 60 buildings across 
100 acres of Oxfordshire countryside. The 
plot was originally an 18th-century farm and 
indeed you can rent the refurbished former 
main house and cottage - but its developers 
have also built 40 one-, two- and three- 
bedroom lodges around the newly created 
lake, meaning it can sleep up to 142 on any 
one evening. Unlike most of the group's 
private clubs, Soho Farmhouse is open to 
non-members provided they book a room 
(members, on the other hand, can use all the 
facilities at will) but otherwise builds itself 
around the classic DNA: contemporary-meets- 

Cream of the crop: 
Eddie Redmayne 
with partner Hannah 
Bagshawe at the 
Soho Farmhouse 

31 July 2015 

vintage design cues and a home-from-home 
spirit. On booking, guests provide their shoe 
size and height so bicycles and Wellingtons 
can be prepared ahead of arrival. 

The site - which can be navigated on foot, 
by horse and cart, or on an electric tuk-tuk 
- includes tennis courts, an indoor-outdoor 
pool, boating, htness, stables, a spa island 
and, of course, an smorgasbord of eating and 
drinking opportunities overseen (from afar) 
by Tom Aikens. Our favourite feature? In 
the morning a converted milk float will drive 
right up to your room to cook you breakfast. 
It's perfect if you don't have a place in the 
country - and it's perfect even if you do. CB 
Cabins from £330 (£250 for members) per 
night. Great Tew, Chipping Norton, 0X7 4JS. 
soho farmhouse, com 

E 0) 

4-r Q 

72 GQ OCTOBER 2015 



The main barn holds 
all the essential club 
apparatus that Soho 
House has become 
expert at delivering, 
but the other buildings 
are firsts for the group. 
The dog-friendly Mill 
Room is a pub serving 
local ales and ciders; 
the Farm Shop and 
Deli has a wine cellar, 
pickle room and curing 
cave for making its own 
charcuterie; and Soho 
Home sells the furniture 
you see around the site 
- that is, apart from the 
one-off vintage pieces. 


Alongside the five-a-side football pitch and winter ice 
rink, the Cowshed Active area has a gym and fitness 
studio - but there’s also plenty of scope to kick back. 
Cowshed Relax has nine treatment rooms, two-person 
spa baths and six mani-pedi chairs, plus steam rooms, 
saunas and ice pools. Done for the day? The Hotting Hill 
hairdresser Josh Wood offers grooming and styling. 


!||^ A serious amount of space has been set aside 
for mega-marriages. Ceremonies can take 
place in the Barwell Barn (or at a local church) 
and, between the Hay Barn and marquee, 
couples can host up to 250 guests. All of whom 
have the run of Farmhouse, naturally. 

1 Go through your closet. 
See those items with the 
faded colours? They’re 
your favourites. Pick out 
the staples including a suit. 


2 Construct at least three 
ensembles of varying 
formality. Buy multiples, 
plus extra suit trousers. 
Now you have your base. 

3 Next, add a twist. Keith 
Richards has his skull ring 
- but you could simply 
wear your watch on your 
cuff, Angelo Galasso style. 


4 Rather than wearing 
items to death while 
keeping multiples pristine, 
cycle through them to limit 
overall wear and tear. 


5 Better to break your 
rules than be a chump. So 
you never wear a tie? Well, 
at your sister’s wedding, 
guess what: you do. CB 

OCTOBER 2015 GQ 73 

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\ Montblanc M 
and Hugh Jackman 

Crofted for New Heights 

This new iconic writing instrument 
expresses Montblanc's fine writing culture 
in the distinctive design language of 
More Newson. The black precious resin 
and its minimalist understatement 
disguise some intriguing details. The 
unique magnetic closing mechanism 
automatically aligns the cap with 
the Montblanc emblem on 
the perfectly flat "plateau". 

In the launch edition, the 
Au585 gold nib bears the 
designer's initials. Visit and 
shop at 

Photograph Elise Remender 


Before the Republican 
presidential primary 
debate (16 September), 
we assess the race's 
oddest candidates. 
God bless America 





Stands for: Living forever 
(no, really) 

What else? Relaxing while 
robots perform our jobs 

Claim to fame: Invented 
“volcano boarding” 



Stands for: Anarchism 
and compulsory 
tooth brushing 

Is that his real name? 

Yes it is 

Also known as: The 

“friendly fascist” 


Stands for: Legalising weed, 
no dogs in restaurants 
His take: “Hillary is my only 
competition right now” 
But: He’s not old enough to 
legally become president 


Stands for: All the 

guns, presumably 
Pals with: Rand Paul 
Be afraid: His 11 million 
Instagram followers 
actually give him 
a platform 


Position: Hard right 
Gaffes: Signed off a letter 
to a Jewish constituent 
“Molotov” (rather than 
‘‘mazel tov”) 

Also: Compared labour 
unions to Isis 





Meet the artist b 
into images from 

IS this portrait of a Nineties starlet a photograph or a painting? In a way, it's both. Elise Remender is an artist from 
Phoenix, Arizona, whose Figures collection reinterprets retro magazine images through modern techniques. "1 put them 
into Photoshop and rearrange them," says Remender, who might change the background or swap the subject's outht. 
"It's about re-imagining what that situation would have looked like in a more contemporary colour palette." She then 
realises the new versions from scratch in acrylic on canvas. Having previously dealt in abstraction. Remender shifted 
hgurative hve years ago: "Abstract art never inspired me, it just paid the bills." Now she's working on classic portraits 
from GQ for an exhibition at Renaissance Fine Art in Baltimore. Does she have any other inspirations? "Toulouse- 
Lautrec: I've always loved vintage posters and if 1 could go back and meet anyone, it would be him." Will Grice 
eliseremenderfineart. com; merrittgallery-renaissancefinearts. com 

OCTOBER 2015 GQ 79 



We've sobered up since the Roaring Twenties, but their legacy 
has resurfaced with cocktail trolleys rolling across the capital 









The gin trolley 

launches to celebrate 
a refurb at SWTs 
go-to Indian 


The Negroni trolley is 

a sure-fire way 
to jump start 
aperitive hour. 




the colonial for 
the contemporary, 
the three-tiered 
trolley is a simple 
walnut construction. 

Bar manager 
Gianni Albanese, 

an old hand whose 
experience at the 
Ritz and China Tang 
makes for superb 

Deluxe Gin Punch 

(£400): Star of 
Bombay, Grand 
Marnier Cuvee du Cent 
Krug Grande 

from the 
early 1900s, the 

Empire-style trolley 

is resplendent 
in rosewood 
and glass. 

Bar manager 
Williamson and 

head bartender Eric 
MacDonald blend 
and build against 
the space’s art deco 

See the bottle 
of tea bitters? 

That takes more than 
a week to infuse. For 
your next drink, try 
adding it to a 

Old W’minster 
Library, 30-32 Great 
Smith Street, SW1. 


(£50), a fiery 
fusion of Sixties 
Carpano Vermouth, 
Martini Rosso and 
Antica Formula. 

Or you can ask for 
the secret drink: their 
Floreale Negroni 
(£14) combines 
Arezzo junipers 
with Campari, 
Velvet Falernum, 
Creme Yvette and 
Antica Formula. 

4 Lancashire Court, 

The brasserie 
launches Percy’s 
Den, a private diner. 

Its features - yup - 
a roll-out trolley. 

A cube on wheels 
makes for a kitsch, 
serving station. 
conceal cocktail 
paraphernalia, leaving 
the top for mixing. 

Maestro Nicolas 
Vierne, formerly of 
Cubitt Flouse, can be 
requested to mix. 

Spiced Conquistador 

(£9.50): Kraken Black 
Spiced Rum, Cocchi 
Vermouth di Torino, 
Giffard Agave 
and chocolate 

The luggage 
Martini trolley 
careers across 

a London Tube- 
styled basement. 

Disguised as a 
classic brown leather 
luggage trunk with 
gleaming brass locks, 
the trolley is stacked 
on an original Forties 
station cart. 

The GO Old 
Fashioned (£9) - 
created on the back 
of our enthusiasm 
- is also on offer. 

A smoky swirl of 
Woodford Reserve 
bourbon, Dubonnet 
and Angostura 

1 Pearson Square, W1. 

From a 

to a Flollywood 
starlet, drinks 
“porters ” serve 
you in full-on, 
authentic attire. 

Playing Dirty (£12). 
A Belvedere Vodka 
Dirty served bone 
dry and shaken with 
olives and their brine. 

Later, slug the 
secret Bloomin’ 
Marvellous (£12), 
made with Belvedere 
Vodka, sparkling 
lavender wine syrup, 
liqueur and 

13 Kingly Court, 
off Carnaby 
Street, W1. 


Jesse Eisenberg's latest 
role? Fiction writer. 

His debut collection 
of arch short stories. 
Bream Gives Me 
Hiccups, is out now - 
and it's a league (or 
hve) above these 
other movie-star 
literary outings... 

FAN TAN (2005) 

Marlon Brando 
A romance that he 
disowned. Wisely. 
The critics said: “The 
wreck you’d expect” 
(Washington Post). 


JUNIOR (2006) 

Macauley Culkin 
About a messed-up child 
star. Sound familiar? 

The critics said: “ Self- 
indulgently infantile” 
(Publishers Weekly). 


STAR (1999) 

Gene Hackman 
We’d rather watch 
Superman IV... 

The critics said: “ Largely 
forgettable” (Empire). 



TAKE a picture; it 
lasts longer. Even 
better, let Instagram 
do it for you. Here are 
the three funniest 
'grams we've seen 
this month. 

Follow us 






Well this is confusing 


Story Nicky Clarke Photographs Alamy 

PcX^aS. SiwJUlv. 







Photograph Nicholas Kay 

r THE AW15 ^ 


With advice from Kilgour, 
Adidas Gary' moves the 
trefoil towards tailoring 

THE two-piece tracksuit has long 
been democratic apparel, worn as 
leisurewear by everyone from Bob 
Marley and off-duty royals to B-boys 
and Tony Soprano. Now, curator and 
designer Gary Aspden wants to recast 
it as something more exclusive. The 
Middleton - part of his Adidas Originals 
X Spezial AW15 capsule collection - is 
informed by the kind of fabrics, cut and 
half-lining more associated with Savile 
Row, specihcally Kilgour. 

Aspden used a vintage deadstock 
tracksuit from Argentina as the 
starting point for the Middleton. 

"It was very modernist - no stripes, 
nothing decorative, just a 
simple trefoil on the chest 
and trouser. I showed it to 
Carlo [Brandelli, creative 
director at Kilgour] and 
we discussed how it could 
be modernised. I gave the 
trousers a narrow, more 
tapered ht. I wanted the top 
to be easy to take on and off so 
I looked at the different linings used in 
suiting. It makes as much of a statement 
from the inside as it does the outside." 

Under Aspden's supervision, the 
collection's footwear is also far from 
kickabout. The Munchen SPZL is based 

Right: Track top, £230. 
Trousers, £185. 
Trainers, £65. All by 

Adidas Originals 
X Spezial. Below: 
Anorak, £445. 
Trainers, £130. Both 
by Adidas Originals x 

on a vintage trainer from Japan 
W / that was different from the 
European issue. "We tracked down 
the original lasts," he says. "This 
shoe is a classic, and when you have an 
aesthetic that strong then it shouldn't 
rely on nostalgia." Warren Jackson 
Adidas Originals x Spezial AWl 5 Alpine 
Luxe will be released on 19 September. 


N U 


Style isn't simply about what you wear, it's also a matter of how you talk. By order of GQ, never allow the following past your lips: 

1 -gate As Mitchell and Webb put it: "What? Take the last four letters of a previous scandal or hotel and add it on to all future scandals? That can't be the system." 

2 Revert Imagine having such status anxiety that you no longer feel able to use the verb "reply". 3 Impactful Way to sound illiterate. 4 Tragedy Does the topic of discussion 
involve hamartia, hubris and catharsis? No? Not a tragedy. 5 Viral Note to marketing execs: until it "goes viral", you have simply made a "video". CB 


Usually, hlms set on Mars are one-stop flops (looking at you, John Carter) but The Martian, about a stranded astronaut, is 
one of the buzziest openings of the year. Ahead of its 2 October release, here's the skinny in science-friendly Venn form... 


Matt Damon and 
Jessica Chastain have 
worked together on 
a space film before: 


Photograph Hanna Hillier Styling Ozzy Shah at Carol Hayes Management Make-up Lucy Wearing Grooming Zarra Celik at LMC 
Worldwide Hair Johnnie Biles at Stella Creative Artists Styling assistants Ashley Johnson and Edward Grund 

hm.cqm. Belt by 7 For 

All Nanking, £90 
Shoes by Louboutin, 

£525. Christian 



Then you’ll also like 

Birdy, Nina Nesbitt and 
Christina Perri (or at 
least Google trends 
data says you will). 



Meet Gabrielle Aplin„^^^ 
queen for the digital 

GABRIELLE Aplin broke through 
when videos of her Bob Dylan 
and Katy Perry covers racked up 
millions of views - but don't call 
her an internet celebrity "I saw 
a magazine the other day called 
Oh My Vlog!'' she says. "One page 
was about the tallest male YouTube 
bloggers. That's news? People are 
buying this?" 

After signing with Parlophone, 
the 22-year-old scored the 2012 
John Lewis Christmas ad, playing 
a cover of "The Power Of Love" by 
Erankie Goes To Hollywood. Eor 
her new album Light Up The Dark, 
Aplin has gone to that same city. "I 
wanted to recreate that West Coast 
hippy sound," she says. "I was 

listening to Crosby Stills & Nash 
and Joni Mitchell - that whole 
Laurel Canyon scene.'' 

Her 2013 debut LP English Rain, 
and tours with Ed Sheeran and 
John Mayer, won her fans around 
the world. She's even big in Japan 
- the only country, she says, where 
she can appear on the same bill as 
Metallica. Still, she has to behave 
herself on the road. "With me, two 
shots and I'm gone," she says. "I 
panic if I'm hungover and have to 
do a show, so I'll have one night on 
tour where I'll get drunk and then 
get scared out of it for a month. I 
try not to be too wild..." Kevin Perry 
Light Up The Dark is out on 
18 September 




Quails with burnt miso 
butterscotch and pomegranate 
and walnut salsa 


• Preheat oven to 160C/ 

• Use a rubber spatula to 
spread the miso paste 
on a parchment-lined 
baking tray. Place the 
tray in the oven and roast 
for 20-25 minutes, until 
the miso has turned to 
dark caramel: the sides 
should lookburntand 
the middlea dark 
golden-brown. Remove 
from the oven and set 
aside to cool. Scrape 
the burnt miso paste off 
the parchment paper, 
breaking it as you go, 
and transfer the pieces 
to a food processor, 
along with the mirin, 
sugar, vinegar, butter 
and 1 tablespoon of 
water. Blitz well for 

5 minutes to form a 
smooth aerated paste. 

• Place all the ingredients 
for the salsa, apart from 
the parsley, in a bowl 
with 1/4 teaspoon of salt 
and three tablespoons 
of water. Mix well and 
set aside until ready to 
use, stirring the parsley 
in just before serving. 

• When you are ready to 
serve, set the oven to 
its highest grill setting. 

• Place a large saute pan 
on a high heat and add 
the oil. Season the quails 
with one teaspoon of salt 
and a grind of pepper 
and, once the pan is hot, 
add them skin-side down 
in batches. Fry for five 
minutes, turning once. 
Transfer the quails to a 
parchment-lined baking 
tray and spread one 
tablespoon of miso 
butterscotch over the 
skin of each bird. Place 
the tray under the grill 
and cook for 1-2 minutes, 
until the miso starts to 
bubble and caramelise. 
Serve at once, with 

the salsa spooned 
on top or alongside. 

I I- . 

YOTAM Ottolenghi may have said that his new Nopi cookbook is "more challenging for 
home cooks" than his previous outings {Plenty, Plenty More, Ottolenghi and Jerusalem), 
but don't be deterred. Yes, some recipes are not for the faint of heart (twice-cooked 
baby chicken with chilli sauce and kafhr lime leaf salt sounds like a slog to us, too), but 
there are many less daunting ideas. The salads, say, despite their ease, are Ottolenghi 
through and through (pomegranate, preserved lemon, lentils - all the usual suspects), 
while the meat section comprises plates that are achievable yet would wow even the 
most jaded guests. Here's a flavour... Cass Chapman 

Nopi: The Cookbook by Yotam Ottolenghi & Ramael Scully (Ebury Press, £28) is out now. 

Bird is the word: 
Yotam Ottolenghi’s 
(right, left) quail 
concoction with 
and walnut salsa 

Ingredients (serves 4) 

li. 150g white miso paste, 
at room temperature 

• 50ml mirin 

• 30g light brown sugar 

• 2 tsp sherry vinegar 

• 40g unsalted butter, 
at room temperature 

© 2 tbsp sunflower oil 

0 8 whole quails, 
de-boned with wing 
tips left on (1.1kg) 

• Coarse sea salt 
and black pepper 



Seeds of 1 medium 
(approx 150g) 

• 70g walnuts, toasted 
and roughly chopped 

• 35g pickled walnuts, 
rinsed, skin removed, 
finely chopped 

• 2 tsp pomegranate 

• 2tbsp Valdespino 
sherry vinegar (or 
another good-quality 
sherry vinegar) 

1 tbsp olive oil 

• 20g parsley, 
finely chopped 






The Johnson family has 

for once been defeated at 
something. In their annual 
cricket match, Boris and co took 
on Princess Diana’s family, the 
Spencers, at the Althorp estate. 
“They were thumped,” says 
my man on the boundary. 

Liz Kendall boasted that 
by being from Watford she 
was in touch with the south 
of England’s aspirations. 
Embarrassing, then, that 
her hometown Labour branch 
has nominated deadly rival 
Yvette Cooper instead. 

Lefty Eddie Izzard - after 
campaigning for the euro, the 
alternative vote and Ed Miliband 
- has a reputation as a loser 
in politics. Apparently all the 
candidates’ camps were relieved 
that he hasn’t endorsed any 
Labour leader. 

In an almost perfect metaphor 
for the election result. Labour’s 
campaign HQ in SWl is set to 
be pulled down by developers. 
Meanwhile I hear the Tories 
have plans to buy the entire 
building that houses their 
plush Westminster offices. 

90 GQ OCTOBER 2015 

Photograph Andy Hinton Illustration Dave Hopkins 


Photographs Matthew Beedle; Getty Images 




TS ELIOT called April the cruellest 
month, but your wardrobe might 
say October. As summer tails off, 
it's too chilly for a T-shirt but not 
quite cold enough for a jacket. This 
year, however, designers have hnally 
cottoned on. Their response? The 
shirt-jacket, aka the "shacket". 

All these garments have buttons 
or poppers down the centre and 
proper cuffs, but everything else 
is up for grabs. That's good for 
versatility. If you prefer workwear, 
go for rugged linen or lined denim. 

If you're into print, try Burberry's 
bold florals. If you're staying casual, 
check J Crew's plaid overshirt. 

Your move, autumn. Nick Carvell 


As a general rule, 
shackets should 
be cut like a shirt 
but made out 
of material that 
would be more 
used for a jacket. 
Leather, suede 
or denim are the 
smarter options on 
offer, but also look 
out for lined wool, 
cotton or linen. 

Jacket by Norse 
Projects, £225. 
T-shirt by All Saints, 


Shackets are meant to be a light top layer 
- if it’s something that you’d feel comfortable 
wearing with nothing underneath, a shacket it 
ain’t. While they look best over a plain Henley 
or T-shirt, you can also go double-collared by 
trying one over a button-down. 

Jacket by Paul Smith, £225. 
Shirt by Uniqlo, £19.90. 


Emphasise the slim 
cut by keeping the 
three buttons in the 
centre done up - this 
will let your under 
layer poke out, 
and look smarter 
than having your 
shacket billowing 
open as you walk. 

Jacket by Burberry, 
T-shirt by Marks & 
Spencer, £9. marks- 

W A WORD orv ^ 




Oliver Cheshire shows 
that a soft suede shacket 
can look slick. 

Ryan Gosling goes for 
greyscale with a lined, 
plaid wool iteration. 

Daniel Craig demonstrates 
how to layer up like a 
gentleman in sleek black. 

OCTOBER 2015 GQ 93 





Travel chaos? Pah. On the eve of the 
Tube strike, GQ and Warner Music's 
annual summer party at Shoreditch 
House was busier than ever. But 
then, when Mike Skinner is DJ-ing 
and the likes of Clara Paget and 
Tinie Tempah are getting down, no 
wonder guests braved the gridlock. 






Last two series, we've been hate- 
watching The Walking Dead. Every time 
we think the show's getting good again, 
its tempo slows up and it lapses back into 
aimless tangents. But does this month's 
spin-off. Fear The Walking Dead (right, on 
BT TV's AMC channel), offer a new hope? 
We polled the GQ office for a prediction. 

How it can avoid being rubbish, 
according to resident Walking 
Dead apoiogist (and Senior 
Sub-Editor) Aaron Caiiow: 

"Zombie fans have long cried out 
^ for a TV adaptation of Max Brooks' 
episodic novel World War Z. If 
Fear The Walking Dead scratches 
that itch, with focused survivors' 
stories and creative zed-head 
slaughter action, it'll go down 
like brains at an undead tea party." 

96 GQ OCTOBER 2015 

Photographs Getty Images; Justin Lubin/AMC 



At a time when the Stones were starting to get 
eclipsed by bands such as Kiss, the Some Girls album 
was a notable smash - revitalised by Ronnie Wood’s 
involvement. On the record’s American tour, they played 
LA’s Anaheim baseball stadium (pictured) on a July day 
so hot the band had to take long pauses between songs. 





A primer on Sotheby's Rock Style 
exhibition, ahead or your visit 

TOMMY Hilfiger remembers a time when style 
had a distinct wellspring. "Musicians," says 
the 64-year-old, "were more influential in 
the world of fashion than fashion designers." 
Unlike many performers of today, the artists 
Hilhger has in mind - Arturo Vega, Ramones, 
Sex Pistols - were the originators of their 
own looks, and these became as crucial to 
the bands as their music. 

The most important examples are enshrined 
in a new exhibition at Sotheby's S2 gallery. 
Rock Style, which brings together images by 
legendary music photographers, including 
Bob Gruen and Terry O'Neill, inspired by 
Tommy Hilhger's 1999 anthology of the same 
name. Jointly curated by Hilhger and art 
dealer Jeffrey Deitch, all the pieces will be 
for sale, coinciding with Sotheby's separate 

Rock & Pop auction of memorabilia, from The 
Beatles' Brian Epstein contract to Pink Floyd's 
Hammond organ. 

The Rock Style show, however, isn't limited 
to archive material. Six specially commissioned 
pieces by the American street artist Shepard 
Fairey which are mixed-media likenesses of 
Sid Vicious, Debbie Harry and Joey Ramone 
as if rendered in screen print, will hang 
alongside the photos. To Deitch, though, the 
personalities aren't everything. "It's not just 
the story of the artists, of the music, it's really 
the story of that time in history," he says. 

"It's the time of the youth revolution. They 
were not just influencing music, they were 
influencing the whole world." CB 
From 22 September to 30 October. 31 St George 
Street, London Wl. 

■' -.-Y 




Known as the “Man Who Shot The Seventies’’, Mick Rock 
had a special relationship with Bowie, filming and directing 
the video for “Life On Mars’’ backstage at Earls Court on 
12 May that year. It features a made-up Bowie performing 
the song and wearing an ice-blue suit designed by Freddie 
Burretti. This photograph is from that iconic shoot. 


Something weVe all been doing but not discussing: taking our phone into the bathroom to play music while we're taking a shower - well, how else 
can you listen to Spotify? Of course, the volume its puny internal speakers can achieve is pitiful, hence our delight at the Swimmer by Boom. This 
Bluetooth speaker is waterproof so you can have it right there next to you - either suckered to the glass or looped over the curtain rail, setup 
depending - and its compact size conceals a tremendous punch. What's more, its rubber buttons let you remotely control what's playing. Farewell, 
soggy walk to the handset. CB £50. 


raphs Bob Gruen/; Mick Rock 


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Used for the first time in watchmaking, this alloy represents the pinnacle of magnetic permeability and protects 
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High places: 1 Bill Clinton, who was 
logged as a passenger on Jeffrey 
Epstein’s private jet eleven times. 

2 Ghislaine Maxwell, a long-term 
confidant of Epstein. 3 Epstein’s 
apartment on the Upper East Side 
of Manhattan. 4 Epstein and an 
unnamed friend in 2005. 5 Prince 
Andrew and Heidi Klum at her 
Halloween Party, New York, 2000. 
6 Headlines connecting the prince 
with Epstein, February 2011. 7 
Epstein’s private Caribbean Island, 
Little St James. 8 The billionaire’s 
private jet at Palm Beach airport 



Jeffrey Epstein counted 
royalty and presidents as 
his friends, so it was a 
perfect scandal when 
the billionaire admitted 
soliciting young girls 
in a controversial plea 
deal. Now GO asks if this 
2 1 st-century Gatsby can 
continue to evade his 
accusers amid claims of 
a high-society cover-up 

OCTOBER 2015 GQ 105 

Oris Big Crown ProPilot Aiti meter 
Patented automatic mechanical movement 
with mechanical altimeter 
Matt- satin stainless steel case 
Water resistant to 10 bar/100 m 


Swiss Made Watches 
Since 1^1 904 

Photographs Chris Blott/Splash News; Corbis; Rex 

As sex scandals go, the case of Prince Andrew, 
Duke of York, and a mysterious American 
billionaire named Jeffrey Epstein isn't lacking 
in much. 

There's a Blofeldian private island in the 
Caribbean Sea, complete with its own helipad 
and lagoon. There's a custom-htted business 
jet once used for a weekend visit to the 
royal estate at Sandringham. There are pres- 
idents and prime ministers - most notably 
Bill Clinton, perhaps soon to become the 
First Man (or First Dude, as he prefers) of 
the United States. There's even the social- 
ite daughter of a crooked media tycoon, 
Ghislaine Maxwell, who shares her hrst name 
with the yacht from which her father, Robert, 
fell to his death after stealing £450 million 


Private lives (above): An aerial view of 
Jeffrey Epstein’s Palm Beach mansion, 2 
his helicoptor above Little St James, 2015 

Wide Shut, hasn't made more news since the 
day it began, ten years ago, with a woman's 
distraught phone call to the police in Palm 
Beach County, Florida. 

The woman in question complained that 
her 14-year-old stepdaughter had been 
approached by another girl from her high 
school, driven to a beachfront mansion on a 
dead-end street, and given $300 (about £200) 
to provide a thong-clad massage to a man in 
his hfties named "Jeff" until he ejaculated 
into a towel. "The more you do [next time]," 
the girl was told, as she was escorted through 
of the gargoyle-flanked gates, "the more you 
get paid." 

The man, of course, was Epstein - the 
twinkly eyed, velvet-slippered friend of Prince 
Andrew and Bill Clinton. 

The investigation that followed took more 
than a year to complete. The sanitation 
department helped redirect Epstein's 
wheelie bins to the local police HQ. Phone 
records and flight logs were seized. Dozens 
of witness statements were video taped. 
All of which resulted in a heavily redacted, 
2 2 -page "probable cause affidavit" that set 
out the case for Epstein's arrest and trial on 
sex trafficking charges that could have put 
some of the world's most famous men on 
the witness stand and seen the defendant 
himself go to prison for most of the rest of 
his natural life. 

But it never came to that, of course. 

In 2008, the US Justice Department - at a time 
when George W Bush was still president - @ 

from pension funds. And then, of course, 
there are the girls: some barely teenagers 
(there is no suggestion of any wrongdoing 
involving anyone other than Epstein himself); 
most from a swamp -turned-ghetto on the 
Atlantic coast of Florida with the deeply 
ironic name of Royal Palm Beach. Lastly, 
there is the premature demise from cancer 
of Epstein's former butler, who kept a little 
black book, known as the "holy grail", detail- 
ing his employer's comings and goings... so 
to speak. Whatever secrets remain within it 
have followed the not-so-loyal manservant 
to his grave. 

It's a wonder, in fact, that the Epstein affair, 
which brings to mind the plot of a Tom Wolfe 
novel crossed with Stanley Kubrick's Eyes 

The trial could have 
most famous men on 

some of the world's 

Candid camera; Prince 
Andrew anjd the Florida 
high-school pupil 
Virginia Kdberts. Her 
claims about the prince 
have now been struck 
from the records 

OCTOBER 2015 GQ 107 






Photographs News Syndication; Rex 


Walk and talk 
(clockwise from 
main): Prince Andrew 
and Jeffrey Epstein in 
New York’s Central 
Park, February 2011; 
President Bill Clinton 
in London, December 
2011; Jeffrey Epstein 
with a friend at a 
party. New York, 2014 

(?) negotiated a plea deal instead. In a move 
that incensed local detectives, the highest 
powers in the US government allowed Epstein 
to admit guilt under Florida law to hiring pros- 
titutes and soliciting minors, on the agreement 
that the far more serious federal case would 
be dropped. His punishment: 13 months in an 
empty wing of Palm Beach County Jail, from 
which he was allowed out, six days a week, 
up to 16 hours a time, to go to his office. 
After that, came a year of "house arrest" - 
during which he managed to visit his prop- 
erties in Manhattan and on Little St James, 
his getaway in the US Virgin Islands, which 
he calls "Little St Jeff". He couldn't get out 
of having his mug shot taken for the US sex 
offenders' registry, however. 

Thus, what could have exploded into a 
scandal on the scale of the Sixties London 
Profumo affair has ended up a drip, drip, drip. 

Civil lawsuits involving Epstein's 40 or so 
alleged victims continue to move through the 
courts. Photographs keep being republished of 
Prince Andrew, sometimes with much younger 
women, on various ill-advised Epstein-related 
excursions. Meanwhile, flight logs of Epstein's 
private jet have put President Clinton on the 
so-called "Lolita Express" no fewer than eleven 
times - at one point with Epstein, Maxwell and 

He could not gel 
out of having HIS 
for Ihe US sex 
offenders' registry 

the blonde female assistant who was alleged 
to have recruited other girls as underage pros- 
titutes under what lawyers have called the 
billionaire's "pyramid abuse scheme". (The 
trips began three years before any allegations 
against Epstein were made.) 

It has even been revealed that President 
Clinton once shared the jet's cabin with 
Chauntae Davies, a former soft-porn actress 
listed in one of Epstein's address books under 
"Massage - California". 

For Prince Andrew, however, the most 
serious "drip" - the one that threatened to 
bring down the whole dam - came in January, 
when new court papers were released concern- 
ing a former Royal Palm Beach high-school 

pupil named Virginia Roberts. The allegations 
within them were so serious, Buckingham 
Palace was moved to declare them "false and 
without any foundation". 

The Roberts claims have since been struck 
from the record, so GQ won't repeat them 
here, but the broader case to which they're 
related goes on. Indeed, hundreds of private 
emails between Epstein and his advisors have 
just been unsealed as the proceedings gather 
pace. And with some of the highest-prohle 
lawyers in the US on both sides, the Clintons 
on the campaign trail in preparation for 
Hillary's bid for the presidency in 2016 and 
the tabloids hungry for anything new on 
"Randy Andy" and his disgraced billion- 
aire friend, it looks as though this long and 
sordid saga isn't anywhere near to being over 
just yet. 

C omparisons between Jeffrey 
Epstein and F Scott Fitzgerald's 
antihero Jay Gatsby aren't in 
the least bit original, but the fact 
remains: no one seems to know 
exactly where his money came from. 

For the hrst two decades of Epstein's career, 
in fact, his name and fortune meant nothing on 
Wall Street or in the Square Mile of London. (?) 



@ Unlike, say, George Soros, who infamously 
helped sink the British pound in 1992, or the 
Koch brothers, who have meddled endlessly 
in US elections, Epstein was practically invis- 
ible until the early noughties, when he hrst 
loaned his private jet to Bill Clinton, prompting 
articles in New York's high-society press with 
headlines such as "The Talented Mr Epstein" 
and "Jeffrey Epstein: International Moneyman 
Of Mystery". 

Whatever the source of Epstein's money, 
however, one thing is clear: he has a lot of it. 
Hence his ornate, Erench-style Eifth Avenue 
home on the Upper East Side of Manhattan, 
with 40 rooms covering 21,000 sq ft - the 
largest private residence in the city by most 
estimates. Built in 1933 by an heir to the 
Macy's fortune, it used to be an elite private 
school and sits opposite Bill Cosby's much 
smaller brownstone. Visitors say the entrance 
hall is decorated with rows of individually 
framed artificial eyes, once intended for 
wounded soldiers in England. Other features 
include a gigantic sculpture of a naked African 
warrior, a heating element under the street 
outside (so the snow never settles), and a 
lead-lined panic-room-cum-bathroom under 
the stairs with CCTV screens hidden inside 
one of the cabinets. Epstein's favourite touch, 
however, is a stuffed black poodle that sits 
atop a grand piano. "I want people to think 
about what it means to stuff a dog," he once 
explained, darkly, to a female reporter for 
Vanity Fair. 

The Manhattan trophy home is only the 
beginning of Epstein's modern-day Maharaja 
lifestyle, however. He also owns the largest 
private dwelling in New Mexico - a castle- 
like stone fortress named Zorro, on a parched. 
Breaking Bad-style ranch, which he bought 
from the family of the state's former attorney 
general, Gary King, whose father was a three- 
term governor. 

Then there's Epstein's apartment on the 
ludicrously grand, chestnut tree-lined Avenue 
Eoch in Paris, at the end of which is the Arc 
de Triomphe. Not to forget Little St Jeff, his 
private island, and his beach-front spread in 

flO GQ OCTOBER 2015 

Palm Beach - plus, of course, the fleet of air- 
craft he maintains to travel between them all: 
a Gulfstream IV, a Cessna, a Boeing 727, and a 
helicopter. Epstein is so rich, he once said that 
he considers eating in restaurants - ie with the 
general public - "like eating on the subway". 

Given the opaque nature of Epstein's hold- 
ings, there is inevitable suspicion that all this 
could be part of some Bernie Madoff-style 
conhdence trick. But it's a theory few seriously 
entertain. "He's got real investments, real tan- 
gible property," Jose Lambiet, a Palm Beach 
gossip columnist who has kept tabs on Epstein 
for the past decade and a half, tells GQ. "I don't 
know how much money he earns now. But I 
do think he's already made enough to last the 
rest of his days." 

It's all very far removed from Epstein's 
upbringing as the son of a New York parks 
department employee, in lower-middle-class 

Whatever the source 
of Jeffrey Epstein's 
money, one thing is 
ciear: HE HAS 

Brooklyn on the other side of the East River 
from Manhattan. 

Along with his younger brother, Mark, he 
attended one of the worst schools in the city, 
Lafayette High, since closed down. Yet he still 
managed to get into Cooper Union, a college 
in the East Village, among the most selective 
in the US, including the Ivy League. 

By most accounts, he abandoned his 
studies before getting a degree and ended up 
at the similarly august Courant Institute of 
Mathematical Sciences, an offshoot of New 
York University. But he left there, too, with 
nothing to show for it. Nevertheless, he landed 
a job teaching calculus and physics at The 
Dalton School on the Upper East Side, where 
he became a maverick, charismatic presence, 
compared by some to the Robin Williams char- 
acter in Dead Poets Society. Eortuitously for 
Epstein, one of his awe-struck pupils was (0 

Powerful friends 
(from above): Jeffrey 
Epstein in a West 
Palm Beach court 
where he pleaded 
guilty to soliciting 
minors; Ghislaine 
Maxwell and Prince 
Andrew at Heidi 
Klum’s party, 2000; 
Maxwell’s apartment 
on the Upper East 0 j 
Side, Manhattan 


Photographs; Rex; Splash News 


(>) the son of "Ace" Greenberg, then head of 
the Wall Street brokerage Bear Stearns (aka 
The Bear). 

Greenberg nicknamed his employees the 
"PSDs" - Poor and Smart with a Deep desire 
to get rich. And when he took one look at 
Epstein, he knew he'd found a new recruit. 
Soon enough, Epstein was doing big business 
at The Bear - this was 1976 and Epstein was 
just 23 - but he quickly decamped to set up his 
own company, J Epstein and Co, which later 
became Einancial Trust Company, registered 
on Little St Jeff. Today it is thought to employ 
about 150 people, mostly administrative staff. 

What the company actually does, however, 
is a subject of much debate. Is it a hedge fund? 
A money-management hrm? Or is it - as some 
claim - a bounty-hunting outht, which earns 
commissions by collecting stolen millions on 
behalf of governments and rich people? Would 
the latter explain why Epstein is licensed to 
carry a concealed weapon (thought to be a 
Clock) and is reported to have a gun safe in a 
shower at one of his homes? 

While Epstein hasn't clarihed any of this, he 
has stated, outlandishly that he has a policy 
of refusing clients who are not in the top 
2,000 or so of the world's most ludicrously 
wealthy people - "the zero per cent", as it 
were. "I was the only person crazy enough, 
or arrogant enough, or misplaced enough, to 
make my limit a billion dollars or more," he 
once bragged. 

As for the identities of all those billion- 
aire clients, only one of them has ever outed 
themselves in the press: Leslie "Les" Wexner, 
78-year-old founder of the American retail 
empire L Brands, who made much of his 
fortune through Victoria's Secret (which he 
still owns) and Abercrombie & Eitch. Wexner 
got married late, at 55, and now has four 
children. Although he and Epstein have gone 
their separate ways since the latter's legal 
problems, they were close for years. Epstein's 
home on the Upper East Side, in fact, used 
to be owned by Wexner, and some believe 
the retail billionaire gave it to him for a token 
sum. Many believe that he was seduced, for 
want of a better word, by Epstein's charisma 
and genius-grade IQ. 

Epstein's relationship with Ghislaine Maxwell 
- who led him to Prince Andrew - is even more 
curious. They met, reportedly, shortly after 
the death of Maxwell's father (forever known 
as Cap'n Bob in Private Eye) whose body was 
found in 1991, floating in the Atlantic, just off 
Gran Canaria in the Canary Islands. 

Maxwell, the youngest of nine, and by 
most accounts her father's favourite, was 
crushed. Beautiful, single and about to turn 30, 
she had an Oxford education and an innate, 
hard-charging (some might say bullying) 
confidence, but was facing ruin, by high- 
society standards, with her one-bedroom 
Manhattan apartment and reported trust fund 
allowance of just £80,000 a year. 

Epstein became her knight in zip-up fleece 
and faded jeans. Eor a long time the pair were 
said to be dating. There were rumours that 
Maxwell had started to manage Epstein's 
properties. (There is much speculation over 
whether she was ever technically an employee 
of his.) "What Jeffrey wants, Jeffrey gets," 
she once reportedly told the managers of 
his private island. And when they broke up 
- what Jeffrey wanted was to sleep with 
other women, apparently - they weirdly 
seemed to grow even closer. Maxwell was his 
"Queen Bee" as one employee put it. After 
all, if Epstein gave Maxwell access to the kind 
of wealth she had known before her father's 
death, then Maxwell gave Epstein access to the 
kind of prestige that money can't buy, namely 
her friendships with the Clintons and the 
royal family. Even the Pope and Eidel Castro 
were said to be in her social circle. Indeed, 
Maxwell was so trusted by Prince Andrew, 
he let her take him to a "hookers and pimps" 
party in 2000 hosted by Heidi Klum, who 
was dressed as you might expect (or hope) in 

Epstein gave Maxwell 
access to weatlh; she 
gave him ACCESS 
money can’t bny 

low cut, shiny black latex and arterial red lip- 
stick. The paparazzi shots are still online: the 
prince looking about as at home as a corgi in 
a space suit; Maxwell in gold trousers and a 
platinum wig (it's not clear if she was a pimp 
or a hooker), her arm draped over his shoulder. 

What Epstein and Prince Andrew saw in 
each other when Maxwell brought them 
together, we can only imagine. The prince 
is known for many things, but an untamed 
intellect isn't one of them, to put it kindly. 
So why did Epstein, a "collector of brilliant 
minds" who can hold his own with Stephen 
Hawking, hnd him so appealing - other than 
the ultimate social bragging right of hanging 
out with a royal? And what about the prince? 
Did the Queen's famously spoiled son really, as 
has been claimed, learn to "relax" in Epstein's 
presence, shedding his woollen socks and 
dressing in tracksuit bottoms around the 
house? Or did "Andy" (as Epstein calls him) 
see this Brooklyn-raised hustler in more cal- 
culating terms: as a means to help his ex-wife 
financially, so that she wouldn't continue 

to embarrass herself and her in-laws with 
her hair-brained money-grubbing schemes? 
Epstein did, after all, ended up writing the 
duchess a cheque - or rather, he gave £15,000 
to her former assistant to cover unpaid wages 
and other bills. 

If there were other cheques, no one would 
be surprised. 

Then again. Prince Andrew, like Epstein, 
has been known to enjoy a bawdy laugh. So 
perhaps that's how they bonded. There is a 
story, never conhrmed, about an alleged visit 
by the prince to Little St Jeff, during which 
an unidentihed female companion trod on a 
sea urchin while taking a stroll on the beach. 
Prince Andrew urinated on her foot to heal the 
sting. "The royal member has done its duty!" 
he roared, much to everyone's delight. 

I t was near the beginning of Epstein's 
dealings with the House of Windsor, 
just after the turn of the millennium, 
that things took an unsettling turn. The 
prince and Epstein were seen holidaying 
together in Elorida and Thailand, surrounded 
by topless model-esque women in thongs. 
Epstein also attended the Queen's birth- 
day party, followed by a pheasant- shooting 
weekend at Sandringham (the private jet was 
given clearance to land at RAE Marham). 
Epstein and Maxwell even reportedly spent a 
weekend at Craigowan Lodge, in the grounds 
of Balmoral. 

Stranger still, the prince was photographed 
with Virginia Roberts, the girl from Royal Palm 
Beach high school. His arm hangs around her 
bare midriff - although, once again, he looks 
profoundly ill at ease. Maxwell is in the back- 
ground, grinning, a flashbulb glaring in the 
sash window behind her. Roberts was 17 at 
the time, allegedly. The location is unknown, 
but it was most likely Maxwell's £3.7 million 
mews house in London. 

What a teenager from the wrong side of 
the tracks in a Elorida beach town was doing 
in such company dehes explanation - unless, 
of course, Epstein was also present, and he'd 
brought her along to keep him company on 
the transatlantic flight. There is no sugges- 
tion that Prince Andrew and Maxwell had any 
knowledge of, or involvement with, Epstein's 
solicitation of minors. Both have made public 
statements to that effect. 

In fairness to the prince, he was by no means 
the only one to hnd this hlthy-rich, would-be 
playboy philosopher an intoxicating presence. 

Not long after the Roberts photograph was 
taken. Harvard University trumpeted a $3 5m 
gift by Epstein, and the billionaire hew to 
Africa on his private jet for an anti-Aids and 
anti-poverty initiative with President Clinton, 
the actors Kevin Spacey and Chris Tucker, 
and the supermarket tycoon Ron Burkle, 

Continued on page 324 






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When a brave young woman stands up to a pack of jeering and whistling 
builders, the press can’t decide whether to cheer or condemn her. But if we can’t 
get past this pantomime patter, how are we going to call out the real predators? 

I t is a strange anomaly of male behaviour that build- 
ers are the only men who feel free to shout loudly 
at passing females. Journalists, for example, do not 
bawl, "Oi, love - do you want to see the short piece 
I have to get in by the end of the day? Ha ha ha!" Cab 
drivers do not cry, "Hello darling - haven't you got any- 
thing smaller? Ha ha ha!" And politicians are not prone 
to declaring, "Over here, sweetheart - do you want to 
see the size of my majority? Ha ha ha!" 

Only builders jeer. Nobody else. Hairy- armed builders 
have always commented freely on passing women, and, 
even this deep into the 21st century, they still do, totally 
undeterred by 50 years of feminism or even - some would 
say - common decency. 

Men working on building sites still cling to the old 
ways, the archaic rituals of a time when bawling, "Oi, 
darling!" was legitimate foreplay. Wolf -whistling, catcall- 
ing, skirt-bothering builders recreate an age that has long 
disappeared into the mists of history. They make a pan- 
tomime of old-school sexism, a you-don't-get-many-of- 
them-to-the-pound world where the concept of sexual 
harassment simply did not exist. They are - quite literally 
- re-enactors, going through the motions of men from 
another time, pretending to hght the battles of long ago, 
no different from those who dressed up in the uniforms 
of Wellington and Napoleon's armies to commemorate 
the 200th anniversary of Waterloo this year. 

But, of course, a builder shouting at a woman in 2015 
does not magically transport us back to that lost, pre- 
feminist world of Don Draper any more than a bunch 
of fat middle-aged blokes dressed up as 19th-century 
soldiers in a held in Belgium replicates the bloody horror 
of Waterloo. It's history. 

Wolf whistling always felt like the very last gasp of 
the unreconstructed lad. It was somewhere beyond old- 
fashioned - it was the echo of an age long dead. But 
then a 23 -year-old woman called Poppy Smart reported 
a bunch of jeering builders to the police. And suddenly 
the sex war was back on. 

At first Poppy Smart ignored them. But as she walked 

past a building site in Worcester, the shouting and the 
physical intimidation went on and on and on, every 
day for a month. In the end Poppy complained to the 
police about sexual harassment. And she became 

front-page news. To begin with, the case was reported 
with an air of you-couldn't-make-it-up disbelief, as if 
here was a modern classic of political correctness gone 
mad. The builders were portrayed as purveyors of 
harmless fun, upholding a ribald tradition that nobody 
should take too seriously, while Poppy herself was 
presented as a prissy little middle-class killjoy making 
a fuss about nothing. 

"Wolf whistling is part and parcel of working on a site," 
said one of the bewildered builders. "It's compliment- 
ing a girl!" 

But the truth was more complicated. Poppy Smart 
had only called the police after a builder had physically 
blocked her path and scared her witless. 

"He was probably 18 or 19, and got right in my face, 
standing next to an older man," she said. "He didn't 
touch me but they were in my personal space on the 
pavement, in my way, even though I literally blanked 
him. It is incredibly intimidating. I'm quite a nervous 
person and this has made my anxiety worse." 

And it turned out the cops were not involved. West 
Mercia Police had followed up Poppy's complaint as 
a possible incident of anti-social behaviour, but wolf 
whistling is not against the law - although making 
obscene remarks can constitute a breach of the peace 
- and they did not take any further action. The build- 
ers had not committed a crime, it was decided, although 
their boss declared himself "shocked and annoyed" and 
promised to have a word with the bemused culprits. 

A nd there it might have ended. But one woman's 
stand against old-fashioned, big-mouthed 
builders touched sensitive buttons in men and 
women of all ages, often in unexpected ways. 
As the father of a daughter who became a teenager 
this summer, I hrmly supported young Poppy Smart in 
her stand against everyday sexism. Builders should shut 
their cakeholes when girls go by. Yet my still-ravishing 
wife felt only sympathy for the men who had been 
grassed to the law. "It will be a bit sad when they don't 
whistle any more," she said, a trifle wistfully. 

The schism in our house was typical. Leering builders 
had their advocates. And they tended to be women. 

"Personally, I hnd the wolf whistle one of life's more 
cheering sounds," wrote Allison Pearson in the Daily @ 

recreate an 
age that has 
into the 
mists of 

OCTOBER 2015 GQ 121 


@Telegraph. "It has a Gene Kelly jauntiness that rings 
out rather innocently in an age where misogyny has gone 
underground into the dripping caves of the internet." 

But Allison Pearson - like my wife, and like all the 
other women who stood up for the wolf whistlers - 
pointed out that there was a strict social etiquette that 
had to be respected, and barriers that needed to be 
understood, and lines that should never be crossed. 
Because it's not just whistling and witty quips worthy 
of Woody Allen, is it? One brickie's hilarious banter is 
another woman's mindless abuse. 

Harry Enheld and Paul Whitehouse had a sketch where 
they were scaf folders who discussed arty subjects in 
plummy voices when they were doing a bit of scaffold- 
ing, but switched effortlessly to gor-blimey-guvnor 
accents when some random skirt walked by. 

"Have you read Stephen Fry's new book?" 

"No, but I'm longing to - I simply adored Moab Is 
My Washpot." 

"I must stop you there momentarily. Key for there is a 
young lady at street level who is endeavouring to walk 
her dog. Oi, love! Doggie Style ! Doggie Style!" 

Just like the rest of us, the sexist scaffolders were inca- 
pable of looking at a woman without lust in their hearts. 
But unlike the rest of us, they had not learned to hide it. 
That's what was so funny about them. "One must admire 
her conhdence and integrity in the face of such a boorish 
barrage of abuse," mused Harry Enheld's scaffolder. 

But, feminists asked, what’s so funny about scaring 

women? Sarah Green of the End Violence Against Women 
Coalition told the Sun, "Sexual harassment in the street is 
too often regarded as trivial when the reality is that many 
women feel humiliated, insulted and intimidated by it." 

"I can quite understand why Poppy Smart was upset 
after walking past a builder's site in Worcester for a 
month," wrote Pearson. "Not only being whistled at on 
a daily basis, but hearing crude comments and having 
one builder obstruct her path." 

Pearson, like many women who were broadly sup- 
portive of Poppy Smart's builders, made it clear that 
it is when the cheeky whistling stops and the obscene 
banter begins that the horny brickies deserve to have 
their ladders kicked away. No woman wants her path 
blocked. No woman wants an invitation to suck on some 
stranger's Cornetto. But, on balance, the Daily Telegraph's 
leading female columnist remained a surprising advocate 
of wolf whistling. 

"There are females who feel 'humiliated and insulted' 
by wolf whistling," she conceded. "Indeed there are, 
but there are millions of others who regard it as a bit of 
fun that brightens their day, and are perfectly capable 
of telling the difference between thuggish sexism and 
cheeky admiration." 

She wasn't alone. "To paraphrase Oscar Wilde, there 
is only one thing worse than being wolf whistled at and 
that is not being wolf whistled at," wrote Melissa Kite in 
the Daily Mail. "Shortly after I turned 40, three years ago, 
I remember walking past a building covered in scaffolding 
and bracing myself for the inevitable outburst from the 
saggy-trousered workmen perched on it. But none came. 
At that precise moment, I realised I was middle-aged." 

Here was the great paradox of the wolf whistle - even 
women who disliked it, and found the hilarious banter 
a pain in the butt when it was happening every day, 
tended to miss it when it became a thing of the past. 

"I'm infuriated by people now insisting wolf whistling 
intimidates all women," wrote Katie Glass in the Sun. 
"I'm not down with a culture that infantilises and pat- 
ronises women, telling us to feel constantly fearful, 
teaching us we can't stand up for ourselves. Telling 
women we should feel threatened when men exhibit 
such lame-ass behaviour only reasserts male power and 
perpetuates the women-as-victims myth. Instead I say: 
girls! Shout back at these muppets!" 

Katie Glass argued that women should be able to deal 
with ham-hsted expressions of attraction - that they 
should be strong enough to take clumsy compliments. 
Like David Beckham having his pecs admired, like One 
Direction being screamed at by weepy fans, like Tom 
Jones having elderly matrons chuck their pants at him. 

"This double standard irritates me," wrote Glass. "Not 
just because it's hypocritical but because it depends on a 
sexism inherent in it. The idea that (unlike women) men 
needn't feel threatened when their sexuality is appreci- 
ated. So boys are allowed to lap up being leered at while 
women receiving something as innocuous as an 'alright 
gorgeous' are warned to be wary of rape." 

It was strong, proud and older women-of-the-world 
who saw this kind of sexual attention as harmless, 
amusing and flattering. Amanda Plat ell, writing in the 
Daily Mail said, "Just wait until she is my age, 57, and 
Poppy Smart will be glad any man is prepared to down 
his Black & Decker drill to pay her a compliment, even 
if it is a stranger on a building site." 

But younger women - in their early twenties and 
teens - struggled to see the charm in unwanted sexual 
attention. In her pro-wolf column in the Daily Telegraph, 
Pearson revealed that her 19-year-old daughter had just 
texted her to complain about catcalling from men on the 
streets of New York. 

Here was the great divide. Older women (and young 
men) were pro-wolf whistling, whereas younger females 
(and older men) were banter-phobes. 

And to those girls who lacked the experience or the 
conhdence or the language to stand up to boorish, disre- 
spectful, unsolicited attention. Poppy Smart didn't seem 
ridiculous taking her complaint to the police. She seemed 
brave. But then I am a man with a teenage daughter. And 
there is no more ardent feminist in this world than the 
man with a growing daughter. 

I n the end it is not the wolf whistling that makes 
me worry for my beautiful girl. It is the wolves. For 
there are true predators out there - not the hard- 
hatted, soft-brained boyos who shout out from their 
scaffolding, but the grown men who lurk in the shadows 
and who would not dream of calling out to a strong, 
proud, fully grown woman. 

As Poppy Smart was making the front page of national 
newspapers, the National Crime Agency reported that 
in just one Northern town, 300 men had been identihed 
as possible suspects in the Rotherham child sex exploi- 
tation scandal. "As many as 1,400 children have been 
raped, trafhcked and groomed by mainly Asian gangs 
in the South Yorkshire town between 1997 and 2013," 
reported the Daily Telegraph - 1,400 children. 300 men. 
In just one Northern town. 

To a signihcant number of British men, child grooming 
has become a national sport more popular than cricket. 
But, of course, our culture can't hnd the words, or the 
will, or the nerve, to chat about that. 

To some, 
Poppy Smart 
didn’t seem 
taking her 
complaint to 
the police. 
She seemed 

122 GQ OCTOBER 2015 

r.bmnellocactnellj .com 

Nature does nothing m vain 








£ 5^.90 

Photographs Paul Cox, Sudhir Pithwa 


This month: PAUL SOLOMONS, Creative Director, GO and GO Style 

Our multi-award-winning visual visionary shares his prized 
possessions, from a Tom Ford tuxedo to a DeWalt power drill 

To Me Marlon documentary 
(out now); Damien Hirst’s free 
' London gallery opening on Newport 
Street, Lambeth (next month); 

Motley Criie at The SSE Arena, 

London (November 2015) 

Favourite album: The Holy Bible by 
Manic Street Preachers {below) 

Last concert: Ennio Morricone at the 02 Arena 
What’s on the stereo: The Balcony 
by Catfish And The Bottlemen {right) 

On the night stand: iPad; Leonardo da 
Vinci: Complete Paintings And Drawings] 
scented candle by Tom Dixon {right) 


To read again: Any Human 
Heart by William Boyd {below) 

To watch: Cobain: Montage Of Heck] 
Chef’s Table on Netflix 

To watch again: Marina Abramovic: The Artist Is 
Present (2012, below)] Cave Of Forgotten 
Dreams (2011); Rear Window (1954) 

Where to eat: Beast, London Wl; 

West Thirty Six, London WIO; 

Little Social, London Wl 
Chefs: Francis Mallmann; Jason Atherton 
Signature dish: Lamb Sunday roast 
Drink: Forrest Estate Pinot Noir (NZ, right) 

Last holiday: LUX* Maldives 
View: Llanberis Pass, North Wales 
Person last followed on Instagram: 

OCTOBER 2015 00127 



iPhone 6 Plus 
TV: 55in Curved 4K Ultra 
HD Smart TV by LG 
Computer: MacBook Pro by Apple, 
linked with two 27in Retina displays 
Audio outdoors: ElO by Soundmagic 
Camera: T Camera System by Leica {below) 
Kitchen gadget: Classic Anthracite 
Knife Block Set by Wiisthof 
Power tools: Cordless power drill and 
electric sender by DeWalt Q 



Watch: Carrera Calibre 1887 
automatic chronograph 43mm 
by TAG Heuer (black, grey, above) 

Suits: Richard James; Dunhill; Burberry 
Tux: Richard James (midnight blue); Tom Ford 
(blue); Dolce & Gabbana (black) 

T-shirt: Crewneck by RRL Ralph Lauren {pictured) 
Shirts: Military sport shirt by 
RRL Ralph Lauren {below) 

Boots: Flat calf boots by Christian Louboutin 
(black, pictured, brown, top right) 
Overcoat: Charcoal wool coat by Dunhill {bottom) 
Jacket: Black leather by Prada {pictured) 
Shades: Classic Acetate by Gucci {below) 
Fragrance: Homme Eau 
de Toilette by Dior {below) 

Skincare: Kiehl’s 



Being dunnped can be 
hard to take, but being 
‘ghosted’ by the one you 
love is the ultimate insult. 
Just ask Sean Penn... 

I t's been months now, but I 
still can't stop thinking about 
getting dumped by Charlize 
Theron. And it's no consolation, 
whatsoever, that the person she 
dumped wasn't actually me. 

It's not just because she's Charlize 
Theron. Though that would be a 
factor. "There's plenty more hsh in the 
sea," my friends would be saying, and 
Td be like, "But guys, it was Charlize 
Theron, and most of them are krill." 

It wasn't me, though, but Sean 
Penn. And she didn't actually tell 
him. She just... vanished. Like that 
goth from Leeds did with me in 
the summer of 1996. 

That was a bit different, of course, 
because eventually I bumped into her 
in Sainsbury's. "I thought you might 
have gone, like. Interrailing?" I 
remember saying to her, literally our 
hrst actual words in a month, as she 
stood there in the vegetable aisle, 
guiltily buying turnips with another 
man. Of course she hadn't gone 
Interrailing. We never bought 
vegetables together, I remember 
thinking, as I trudged home alone. 

Not so much as a bag of carrots. 

Td been a bloody fool. 

So the thing is, Sean Penn, I know 
how it feels. You 'n' me, bud; same 
boat. Though I guess you'll have 
had it worse, slightly? Because of 
Facebook? "She can't be dead!" 
you'll have been saying to yourself, 
probably quite hammily. "Look! She 
logged on seven minutes ago and 
Tiked' an article from the Onionl" 

Also, mobile phones. None of them 
in 1996. Even when somebody did 
want to see you, it was perfectly 
possible to lose them for a week. 
When they didn't, probably, the only 
reliable technique would have been 
to actually stalk them. 

What breaks my heart, slightly, is 

• • • 

break up 

the thought of his text messages. 

Sean Penn's text messages. He'll 
have started off unconcerned. 
Matter-of-fact. "Should I buy milk?" 
he'll have said. Then, after the hrst 
hours of silence, he'll have got a bit 
annoyed. "WTF, Charlize! You know I 
hate UHT!" Then, as the penny slowly 
dropped, he'll have entered the worst 
and most embarrassing stage, which is 
the jaunty stage. "Hey! Yo! U ok, hun 
lollol? With every emoticon 
suggesting spontaneity, but actually 
pored over, for ages. Hell, this is Sean 
Penn. He'll probably have sent them 
to scriptwriters. Multiple rewrites. 

Then the fury. This after seeing her 
do a press conference, perhaps, being 
totally not dead at all. We're talking 
proper Sean Penn rage, here. You 
know that bit in Mystic River, when 
his character flips out and kills his 
childhood friend Tim Robbins? 

Like that, but on WhatsApp. And 
the worst thing is that he'll have done 
all this with a vague sense that Theron 
wasn't seeing any of it, perhaps 
because she'd already thrown her 
iPhone in the bin. Only, she'll have 

Rubbed up 
the wrong way: 
‘Ghosting’ is 
when you are 
erased from a 
former lover’s 
personal history. 
It hurts... 

seen them all. And shown them to 
her friends. Laughing. 

Apparently there's a term for this; 
the great disappearing act. It's called 
"ghosting". That's what happened to 
Sean Penn and me. The New York 
Times did a big piece on it the other 
month, about when other halves 
just... go. One of the people they 
spoke to was a woman who worked 
in publishing called Justine, whose 
bloke of eight months disappeared 
shortly before they were due to go 
to a wedding. 

"It happens to me so often that I've 
come to expect it," she told the paper. 
Whoa there, Justine. Seriously? This 
happened more than once? Was it 
your wedding? 

My friend Jenny, a writer, once told 
me why it is that women go so nuts 
for all those terrible soppy war hlms 
about men who are lost and mad and 
far away, such as The English Patient 
and A Very Long Engagement. 

"It's so you can think of all the 
boys who just stopped calling," she 
explained, "and tell yourself that it 
wasn't your fault. It was the Germans' 
fault. For starting a war." 

The thing is, you need a dumping 
story. I've got loads. There was the 
dumping on the beach; the dumping 
on the phone; the quite startling 
dumping by the person I didn't even 
think I'd been going out with. The 
vomity dumping. Actually wait. 

Two vomity dumpings. Maybe three? 

In retrospect, my favourite was 
probably the Scottish Highland 
dumping, which unexpectedly left 
me sharing a garage loft conversion 
for the following week with a 
morbidly depressed Hungarian called 
Laszlo. Long story. Not really the 
time. But the point is, there was 
always a thing. That's the real cruelty 
of ghosting. No anecdote. No drama. 
No potential for the sorts of speeches 
that Sean Penn might deliver in a him, 
thereby winning an Oscar. Probably 
why she did it, I suppose. 

• Hugo Rifkind is a writer for 
the Times. 

128 GQ OCTOBER 2015 

Illustration Ben Jennings 



.], LONDON t 67 Regent Street 

Harrods, 2"'* Floor 

Might is right: 
Bentley’s new 
Bentayga SUV, 
finished in 
‘extreme silver’ 
on 22in wheels 

I'Ik' mission is uii('(]uiv(i( 
>sl luxurious, sic 

The super- powered 
Bentayga SUV is the most 
hotly anticipated car on 
the planet and GQ has 
exclusive access ahead 
of its 2016 launch. 

Jason Barlow previews 
the Bentley revving up to 
conquer new territory 



Official fuel consumption figures for Maserati Ghibli range in mpg (l/lOOkm): Urban 20.5 (13.8) - 37.2 (7.6), Extra 
Urban 39.8 (7.1) - 56.5 (5.0), Combined 29. d (9.6) - d7.9 (5.9). CO^ emissions 223 - 158 g/km. Fuel consumption 
and CO^ figures are based on standard EU tests for comparative purposes and may not reflect real driving results. 
Model shown is a Maserati Ghibli S at £68,913 On The Road including optional pearlescent paint at £1,776, 
20" machine polished Urano alloy wheels at £2,205 and Red brake callipers at £d32. 

Photographs Alex Howe 

Sitting pretty 
from top): The 
Bentayga in 
profile; Bentley’s 
precise, fine 
metal knurling on 
the gear stick; the 
classic matrix 
grille and badge; 
the linen and 
leather interior 


and it's going to have the jump on 
upcoming rivals from Aston Martin, 
Lamborghini and Rolls-Royce. Bentley 
plans to sell just 5,000 Bentaygas 
per year, adhering to the golden rule 
of supplying slightly less than the 
market demands in order to keep 
the flames of desire properly stoked. 

In reality, the Bentayga - the name 
invokes the Roque Bentayga in 
Gran Canaria, and you will get used 
to it, we promise - sits so far up the 
automotive hierarchy that it's not an 
"either/or car"; rather, it'll join a @ 

entley has come 
full circle. Ninety 
years ago, 

Ettore Bugatti - 
arguably the 
most roaring of 
all the Twenties automotive couturiers 
- dismissed his English rival Bentley 
as the builder of the "world's fastest 
lorries". Bugatti was irked by the 
success of the "Blower" Bentleys, 
supercharged leviathans raced to 
four consecutive victories at Le Mans 
between 1927 and 1930 by a motley 
band of adventurers and rakes 
known as the Bentley Boys. 

Their exploits sustained the 
brand through thick and, mostly, 
thin, but Bentley's 21st-century 
Volkwagen-assisted renaissance 
reaches lofty new heights with 
its hrst SUV: the Bentayga. 

The mission statement is unequivocal: 
this will be the most luxurious, the 
most exclusive, and the fastest SUV 
in the world. Just don't call it a lorry. 

In fact, it might not have been an 
SUV at all. "The brief was to expand 
the business," product director 
Peter Guest says, "not necessarily 
to create an SUV. The Continental 
GT [the aristocratic coupe, launched 
in 2003] was a game-changer for 
Bentley. We were tasked with Ending 
the next one." 

This is a car designed as much to withstand a 
Siberian winter as to patroi Ma^Tair’s streets 

In all honesty, you could swap 
"game-changer" for "no-brainer". The 
SUV, whichever market stratum you 
look at, has become the default choice 
of an entire generation, in defiance 
of climate change, downsizing and 
the rejection of the car altogether 
by the so-called millennials. Trend 
forecasters, as GQ has previously 
noted, predict a global market of 
20 million SUVs by 2020, of which 
a mere 30,000 will be so premium 
they're practically off the scale. This 
is the territory Bentley plans to own. 


(>) Stable of other expensive cars. 

It also has a towing capacity of 3.5 
tonnes, so it can handle a trailer load 
of Arab stallions or a boat. Although, 
as one Bentley client apparently 
noted, if you can afford a Bentayga 
your boat will be much too big to tow. 

It's also that rare thing: a completely 
new car from the ground up. This is 
the sort of challenge designers and 
engineers love, although that clean 
sheet of paper is about as daunting 
as the blinking cursor at the top of a 
newly opened Word hie at the start 
of a Don DeLillo novel. Bentley's SUV 
odyssey also got off to something 
of a false start with 201 2's EXP 9 F, 
a vehicle so spectacularly inelegant 
even Uday Hussein would have 
rejected it as a bit OTT. 

The Bentayga is a vast improvement, 
and manages to import Bentley's 
principal values - design, materials, 
exclusivity and individuality - into 
new territory. In other words, it 
doesn't look like a Range Rover or 
Porsche Cayenne, the two current 
SUV kingpins newly threatened 
with deposition; it looks like a big, 
jacked-up Bentley. It has the bluff, 
stately nose, the "power line" along its 
hanks and engorged, propulsive rear 
haunches. Whatever else you might 
think, you just know it's going to make 
a serious statement pulling up outside 
the Burj Khalifa or Claridge's. 

There's a big technology story here, 
too. The body is made of aluminium, 
the use of which has carved 100kg out 
of the car's overall weight. Ninety 

engine control units are used in 
the Bentayga, twice as many as the 
Continental GT and an indication 
of its complexity, and the new W12 
engine manages to produce GOObhp, 
6641b ft of torque, and still emit 
less than 300g/km of CO 2 . It also 
combines direct and port injection, has 
twin-scroll turbochargers and, among 
other deprivations, has done 400 
hours testing at full throttle and two 
400-cycle deep thermal shock tests. 
Bentley's sadists also subjected the 
car's interior to the equivalent of 
six months of intense sunlight. 

The message is clear: this is a car 
designed as much to withstand a 
Siberian winter - and to get to the 
heart of Siberia in the hrst place - as 
to patrol the mean streets of Mayfair. 

It will also handle in a way that 
should enable a moderately ballsy 
driver to depose the Porsche Cayenne 
Turbo's ridiculous sub-eight-minutes 
lap time round the Niirburgring. The 
Bentayga is underpinned by a new air 
suspension, with four ride-height levels, 
and a 48V architecture governs its 
body control via electrically controlled 
anti-roll bars. On road, this keeps the 
car's mass in check, regardless of the 
surface or speed, and guarantees 
maximum rolling comfort. Off road, it 
ensures jaw-dropping axle articulation 
and the sort of capability no Bentley 
has ever dreamt of. "We've vaulted 
forward two generations in one go," 
Guest says. Siberia, here we come. 

Inside, the Bentayga is replete with 
all the material majesty one associates 


The Bentayga goes 
on sale in early 
2016, so official 
statistics are yet 
to be released. 
However, what we 
do know is this... 


It will be powered 
by a 6.0-litre 
twin-turbo W12 
producing 600bhp 
0-62mph will be 
just over 4 seconds. 
Top speed, around 

Don’t expect 
any change from 

e’ve vaulted forward two 
generations in one go’ 

with a brand that stores its wood 
in a humidor for a fortnight and 
sources its leather from the same 
Scandinavian supplier because it 
doesn't believe in barbed wire (it 
nicks the hide, you see). It will not 
be a rampant techno -fest, though, 
at least not one that assaults your 
senses in a crassly obvious way. 
Useable but invisible - if new luxury 
equates to simplicity, the Bentayga 
is in the vanguard. 

"We're trying to appeal to a very 
tiny, extraordinary group of people," 
Guest says. "What is a Bentley SUV? 
Is it luxury or performance? For us, 
it's both. But there's an additional 
requirement for useability and luxury 
doesn't stop when the tarmac does. 
Utility is a strange word to use in this 
context, but the Bentayga is the true 
expression of a 21st-century GT." 

The Bentley Bentayga goes on 
sale in 201 6. For more, visit 
bentayga. bentleymotors. com 

Photographs Alex Howe 



Photograph Rex 

ooT R AVE L 


Join the city break 
revolution with 
personalised five-star 
‘Insider Experiences’; 
plus, cooking courses in 
a country idyll and the 
Berkeley’s beautiful 
new Chelsea Suites 

At your service 
(clockwise from 
right): The Insider 
Experience at the 
Porto; HH&Co 
brochure; the W 
Hotel Amsterdam 

If you thought hve-star luxury 
meant a relaxing redoubt from 
the teeming madness that lies beyond 
- well, think again. Business is brisk in 
offering "insider" agendas, designed to 

lift one's feet off the furniture and explore the hinterland beyond your hotel. InterContinental 
Hotels & Resorts broke cover earlier this year with its three Insider Experiences dedicated to 

unravelling the roads less travelled around London, Paris and Tel Aviv, to which it has since 
added Berlin, Madrid, Porto and Diisseldorf. Each tour is tailor-made and available to 
guests staying in a Royal Suite at one of the company's hotels, intercontinental com 
W Hotels, the once-boutique brand that's gone on to conquer the world, has 
taken the concept a stage further, by hiring dedicated "W insiders", handpicked 
from local candidates and charged with introducing guests to their 
particular destination, 

Locally sourced, seasonal ingredients are the hook luring 
the culinarily curious to check in at Hampshire's Lime Wood 
and Wiltshire's Lucknam Park - two country-house hotels offering 
cookery courses in gorgeous rural English surrounds. At Robin 
Hutson's award-winning New Eorest property, tuition comes 
from Angela Hartnett and Luke Holder, who've launched 
HH&Co Backstage, the better to brief guests on a variety of 
professional-grade ways to improve their home-cooked fare. Meanwhile 
Ben Taylor, in charge of Michelin-starred The Park Restaurant, is 
offering seasonally themed, day-long courses under the tutelage of 
executive chef Hywel Jones. BP Courses start at £210 and £175 respectively, 
limewoodhotel co. uk; lucknampark. co. uk 

Still DHL-ing your 
luggage? How passe! 

This summer, global 
fashion community 
Farfetch has launched 
Farfetch & Away, 
a to-your-tender 
delivery service 
to support those 
island-hopping in the 
Mediterranean. Voi/al 
No packing necessary, 
merely make your 
purchases online and 
Farfetch’s global pick of 
independent boutiques 
will deliver them to one 
of 13 ports across Italy, 
France, Spain and 

Staying power 

Designer and GQ contributor Robert Angell 
continues his re-kit of the Berkeley hotel 
with his new Chelsea Suites. Back in 2004, 
as creative director to the late interiors 
luminary David Collins, Angell had a hand 
in the hotel’s literally named Blue Bar. 

Now his own practice (robertange/ldesign has put British craftsmen 
to work on a vision of neo-Englishness. The 
result: sophisticated suites in pale wood, 
blanched hues and precise geometry (note 
the angles in the cabinetry that echo the 
carpets’ tessellating pattern) and (Angell’s 
own favourite detail) the Berkeley’s only 
four-poster beds. Aaron Callow 
From £1,860 a night 

OCTOBER 2015 GQ 137 




Feeling festive in Venice? Bauer is the 
only name you need. But which of its 
opulent offerings is right for you? 

J 'Jt M 


This month the cycle of 
cinematic competitions 
steps ashore in Venice 
for the 72nd International 
Film Festival - but, perhaps more 
accurately in its Bauer hotels, the 
scene of many of the happenings that 
dominate the city during such global 
gatherings, and far from a silent 
partner in Venice's enduring appeal 
as a centre for celebrating the arts. 

Much of this is down to the 
proprietor, Francesca Bortolotto 
Possati, third-generation custodian 
of the 18th-century II Palazzo 
overlooking the Grand Canal, 
a gothic-style masterpiece to which 
her far-sighted grandfather, Ligurian 
shipping magnate Arnaldo Bennati, 
saw ht to add an extension in the 
Forties, an art-deco inspired jewel 
now known as L'Hotel. Together with 
the Palazzo, it's very much the "hub" 
of any high-octane entertaining, and 
briefly hosted Loulou's, the nightclub 
of Mayfair members' club 5 Hertford 
Street, when it decamped to its B Bar 
for this year's art Biennale. 

But Ms Bortolotto Possati's 
influence on proceedings doesn't end 
there; not content with revitalising 
both buildings with local artistry and 
antiquities, she's gone on to reimagine 
a 16th-century former convent as the 
Bauer Palladio Hotel & Spa on the far 
quieter Giudecca, and in 2011 opened 
Villa F, an adjacent 16th-century 
landmark renovated to provide 

1 Venice’s 71st 
Film Festival 

2 II Palazzo 

3 Villa F 

4 Loulou’s 
in B Bar 

5 Bauer Palladio 
Hotel & Spa 

eleven individually decorated 
apartment-style suites, complete with 
butler service and swimming pool. 

Which sets up a dilemma for the 
hrst-time visitor during one or other 
of Venice's high-trafhc moments. 

Do you stay close to the action at 
the Palazzo or L'Hotel and by setting 
up shop on its Terrace? Or do you 
forego the hordes entirely and chill 
out on the Giudecca in a corner of 
the Palladio's three acres of tranquil 
gardens, or live like a native in one of 
the new luxury residences contained 
within Villa F? 

Whichever you choose, you're 
unlikely to miss much of the action 
(and if you go before the end of 
November, try the Biennale private 
art tour, around £380 for two people 
sharing a room for one night at the 
Palladio), as the Bauers represent 
the heart and soul of Venice, a city 
that requires an insider's feel for 
its beguiling idiosyncrasies, and 
therefore repays the decision to stay 
at one of its hospitality icons. BP @ 
Prices at the Bauer Palladio Hotel 
& Spa start from £140 per night, 
hauervenezia. com 

13fl GQ OCTOBER 2015 

Photographs Eyevine; James D Kelly 


Back to basics: 
East London 
culinary highlig 
include the prime 
offal and fresh 
loaves of St John 
Bread And Wine; 
and (opposite) 
crispy duck-leg 
confit, fried duck 
egg and mustard 
maple syrup at 
Duck & Waffle 




In the 20 years since GQ’s super-chef moved to Shoreditch, everything has 
changed. Here he reveals the cutting-edge dining, home-cooked favourites and 
secret watering holes that have transformed his neighbourhood 


Shoreditch and 
the surrounding 
areas are as close 
as you will get to 
a New York scene, 
with interesting 
buildings converted into lofts, and 
bars and restaurants positioned 
between classic Victorian houses 
and high-rise council blocks. It also 
neighbours the City, so it's a safe bet 
for residential growth. So why didn't 
I realise that back in the day? 

About 25 years ago, I worked as a 
head chef in a restaurant and wine 
bar near Liverpool Street station 
called Mr Pontac's. I was flat-hunting 
for my hrst property and my boss 
suggested I take a look around the 
Great Eastern Street area on the 
Hoxton-Shoreditch borders. 

I'd never heard of Hoxton, and 
my only reference to Shoreditch 
was in the nursery rhyme "Oranges 
And Lemons". After ignoring 
the advice and buying a flat 
in South Woodford, I hnally listened 
to the artist Patrick Hughes and 
bought a shell loft on Great 
Eastern Street, just a few doors 
down from Patrick. 

Twenty years on. I'm still there, 
and wow, has it changed... When I 
hrst moved in, I knew what bars 
and restaurants were opening 
six months in advance. Now I'm 
still getting round to trying new 
restaurants and bars six months 
after they've opened. 

Umami dearest 
(below, from top): 
A cocktail at Viet 
Grill; and its ox 
cheek in broth; 
mackerel banh mi 
at Keu!; (above) 
Shoreditch House’s 
roof garden 





When I first moved into the area, 
sophisticated or even half-decent 
eating was limited to restaurants 
owned by the Turkish and Vietnamese 
communities along the Kingsland Road 
and up into Stoke Newington. I’ve seen 
them change a lot over the years, and 
many of the Vietnamese cafes on the 
Kingsland Road are now a bit more 
fancified than they once were. 

My friend Hieu Trung Bui is a fairly 
recent addition to the community and 
he’s changed the Vietnamese culture a 
little by offering authentic Vietnamese 
food at his restaurants • Cay Tre (J07 
Old Street, ECl and • Viet 
Grill (58 Kingsland Road, E2. vietgrill. Most of the others have a mix of 
Chinese and Vietnamese, but Hieu has 
stuck his neck out and gone the whole 
hog, opening a banh mi sandwich 
restaurant and takeaway opposite his 
original Cay Tre site on Old Street, called 

• Keu! (JJ2 Old Street, ECl keudeli. Hieu even scatters a bit of British 
provenance on his menus and 
occasionally lifts a few of my dishes 
and gives them a Viet twist. 

Finding Asian food apart from 
Vietnamese is a bit of a struggle. 

( Shanghai (47 Kingsland High Street, 
E8., is an old 
converted pie-and-mash shop that has 
thankfully kept its original and beautiful 
shop front and interior. You can eat pretty 
good food on the same seats and tables 
that once served the East End its jellied 
eels and pie and liquor, but when you 
walk into the back it transforms into a 
generic local Chinese that could be 
anywhere in the country: most bizarre. 

If you can handle proper Sichuan home 
cooking, (almost “dirty Sichuan”, if I’m 
honest, but I like it) and are prepared to 
queue to eat at its crude formica tables, 

• Gourmet San (261 Bethnal Green 
Road, E2) serves properly authentic food 
with a menu about six pages long that 
features literally every body part from 
the nose to the tail. Good stuff. 

• Sichuan-Folk (32 Hanbury Street, 

El., just behind 
The Golden Heart, is posh compared to 
Gourmet San, but still has that generic, 
old-fashioned Asian interior that we 
all recognise. Like most good Sichuan 
restaurants, the fragrant pepper leaves 
your mouth tingling, as if you’ve 
overdosed on mouthwash, but it’s a 
great recommendation, especially for 
lunch if you’ve had a bit of a late one 
the night before. 

For Japanese, go online and be patient 

Wok star: Cay Tre serves chef Hieu Trung 
Bui’s authentic Vietnamese dishes 

142 GQ OCTOBER 2015 

Good evening 
Vietnam: Pork 
pancakes at 
Cay Tre on 
Kingsland Road 

with the slightly complicated booking 
system at • Sushi Tetsu (12 Jerusalem 
Passage, ECl We rarely 
get sushi of this quality in London and 
there are only a handful this good to 
choose from. 

Even before I moved into the “’ditch” 

I would go to the Turkish Mangal 1 
Ocakba^i {TO Areola Street, E8. 
mangallcom) in Stoke Newington. 

There used to be half a dozen tables 
and a few seats surrounding the massive 
centre-stage charcoal grill. There was 
no menu, just what you saw in the glass 
cabinet next to the front door. Over the 
past 20 years it’s quadrupled in size, and 
these days there’s even a basic printed 
menu - which spoils the novelty slightly 
- but it’s still damn good Turkish food at 
unbeatable prices. 

The first time I visited • Testi 
(36 Stoke Newington High Street, Ni6., I thought the 
name meant testicles - because it 
was one of the few Turkish places 
displaying them in a glass cabinet. Why 
would I have assumed any different? 

I later found out it means jug... Anyway it’s 
still good, especially if you want to add a 
bit of edginess to your lamb mixed grill. 


The other 
community in the 
heart of the East 
End's culinary scene 
is its curry houses. 
Sadly Brick Lane has 
become a bit touristy 
with waiters touting 
for business in the 
doorways, but 
tucked away in the 
back streets there 
are still some 
fantastic places, 
such as • Tayyabs 
(83-89 Fieldgate 
Street, El tayyabs., behind The 
Royal London 
Hospital. It serves 
Punjabi cuisine and 
was once a bit of a 
back-street canteen 
with photos of the 
dishes in the 
window. But rather 
like the Mangal, it's 
been revamped and 
is now more of a 
restaurant. Still, the 
food is top-drawer 
and the dish 1 order 
time and time again 
is the king-prawn 
curry (below) made 
with roasted spices, 
which give it a 
unique flavour and a 
shiny dark tan 
colour. 1 once 
managed to get most 
of the spice mix 
from chef Wasim 
Tayyab and 1 stiU use 
it today, with the 
occasional variation, 
for fish and meat 
curries. Another 
old favourite is • 
Lahore Kebab 
House (2-70 
Umberston Street, 

El lahore-kebab in 

Here, like Tayyabs, 
there are no frills, 
just good, honest 
home cooking at 
its best. 



• Eyre Brothers (70 

Leonard Street, EC2. 
eyrebrothers. co. uk), 
offers simple Spanish 
and Portugese dishes in 
probably the plushest 
surroundings in the 
neighbourhood. Robert 
and David Eyre started 
with in a hole-in-the-wall 
takeaway in Charlotte 
Road, before moving to 
grander surroundings over 
a decade ago. Here they 
serve some of the best 
Iberian food in London, 
and one of the knockout 
dishes is the giant grilled 
prawns, which are nearly 
the size of small lobsters. 

When Fergus Henderson 
opened St John in 
Smithfield Market in 1994, 
it was probably a turning 
point in British cooking. 

• St John Bread And 
Wine (94-96 Commercial 
Street, El. stjohnbread around 
the corner was welcomed 
with open arms, as you 
can buy sourdough and 
other items baked on 
site. Both St Johns have 

a cult following, getting 
the balance of simplicity 
and sophistication 
absolutely right. 

Fergus’ wife Margot is 
one of a handful of female 
chefs in London to have 
made a real name for 
themselves and her 
restaurant • Rochelle 
Canteen (Arnold Circus, 
E2. arnoldandhenderson. 
com) is off Shoreditch 
High Street. It’s open 
for breakfast, lunch and 
afternoon tea, and the 
menu goes a bit further 
afield than St John’s, with 
anything from a rabbit 
terrine to squid cooked 
in ink and courgette 
fritters. You can bring 
your own wine from 
across the road at 

• Leila’s Shop (75-77 
Calvert Avenue, E2), 
which has a great 
selection of deli 
goods including artisan 
Polish sausages. 

If you had to envisage 
your perfect local Italian 
restaurant, • Bottega 
Prellbato (45 Rivington 
Street, EC2. bottega would be 
the kind of look and feel 
you would wish for: it has 
nothing challenging on the 
menu, and a bloody good 
wine list. Gianfilippo is one 
of those good, honest 
proprietors and the menu 
has everything from cured 
meats to great pasta. 

I often pop in for a bowl 
or a business meeting. 

Over the years, one of 
the most important things 
that have happened to the 
East End is Nick Jones’ 

• Shoreditch House (Ebor 
Street, El. Shoreditch Nick has a 
special knack of creating 
fantastic spaces and 
changing how people 
spend their social time 
both here and abroad. 

When Nick opened 

• Pizza East (56 
Shoreditch High Street, 

El. in the 
same building, it, too, was 
a welcome addition to the 
area. The pizzas are 
fantastic - easily on par 
with the famous Pizzeria 
Mozza in LA, which had a 
heavy influence on East’s 

pizzas - and the room has 
a comforting industrial 
feel, attracting the young, 
along with the more 
mature Shoreditch crowd. 

(When Nick Jones 
named his Netting Hill 
outpost Pizza East, it 
confused people. But I’m 
glad he did, as I have fond 
memories of walking into 
the Bricklayer’s Arms on 
Charlotte Road when I 
first moved east, ordering 
my pint and, when the 
barman took my cash and 
turned around to put it in 
the till, seeing “F*** off 
back to Netting Hill” 
printed on the back of 
his T-shirt.) 

Twenty years ago the 
local petrol station on 
Shoreditch High Street 
was the only place to 
buy a pint of milk in the 
area. Now Beach Blanket 
Babylon owner Robert 
Newmark has bought it 
and is developing it into 
a street-food market with 
cute little wooden huts 
where there will be a 
well-vetted selection 
of traders with “of-the- 
moment” street-food 
offerings. You never know, 
our fish dog may even 
make an appearance. @ 

OCTOBER 2015 GQ 143 

what s your 
Brooks Brothers 


Mart McGorry 

Ei^cr)' dixy is an event. We dress you for 
the occasion. Share your Brooks Brothers story 
at brcxjfcsbrothcrs.uom/storics 




Up in the Heron Tower Daniel Doherty has 
opened the highest restaurant in the UK, 
which also serves 24 hours a day. Now, 

I’ve always been slightly apprehensive 
about doing a restaurant in a high-rise 
building or skyscraper, but this and a few 
others have proven the point that people 
just don’t mind queuing on the street to 
get in a glass lift to go to a restaurant that 
looms over London. That aside, the menu 
at • Duck & Waffle {Heron Tower, 110 
Bishopsgate, EC2. duckandwaffle.conn) 
has a global, well-thought-through 
offering of dishes including crispy pig’s 
ears to nibble on while you are deciding 
between roast octopus and chorizo, 
ox-cheek doughnuts or the house dish of 
duck confit with mustard maple syrup on 
a waffle, which is delicious whatever time 
of the day or night you eat it. 

When James Lowe, former head chef 
at St John Bread And Wine, opened a 
six-month residency with Isaac McHale a 
few doors down the road at the old Ten 
Bells pub in 2011, they formed a young 
chef movement called the Young Turks, 
going on to set up in various locations 
around the globe while waiting to set 
up their own solo projects. Now settled 
in the Tea Building, Lowe’s permanent 
home • Lyle’s (56 Shoreditch High Street, 
El. serves a short, 
seasonal lunch menu and a fixed, 
no-choice dinner menu. It’s a tough joint 
to get a reservation, but I like the idea 
of no-choice menus - Sally Clarke led 
the way years ago with the concept at 
her eponymous restaurant on Kensington 
Church Street, and it works. 

In a nice friendly way, James is going 
head-to-head with his fellow Young Turk, 
Isaac McHale, just around the corner. 

Isaac opened • The Clove Club {380 Otd 
Street, ECl. a year 
before Lowe in the iconic site of the 
Shoreditch Town Hall. The Clove Club 
also offers a fixed-price tasting menu, 
and when I recently ate there with some 
friends from Sydney we had a delicious 
blood pudding with apple and chicory 
relish, suckling pig roasted with southern 

Indian spices and a roasted scallop with 
clementine and grated black truffle. If you 
don’t want a complete blowout you can 
have a pint and a snack in the bar, which I 
often do. 

My ex-girlfriend, Clare Lattin, opened 
Ducksoup just a few doors down from 
my favourite Soho watering hole. The 
Groucho Club, in 2011. Her second 
venture, based near the Hackney Empire, 
took an extremely unfortunate plunge 
when hotel building work next door 
caused it to subside overnight. However, 
bad luck turned in Clare’s favour when 
she found a great site just off London 
Fields in 2014. • Rawduck {197 Richmond 
Road, E8. 
serves food with influences from all over 
the globe and the menu has lots of 
homemade pickles that you can eat 
as a snack or as an accompaniment. 

Clare has been a big part of the natural 
and biodynamic wine movement in 
London, so there is some interesting 
stuff on her list. She even serves 
homemade drinking vinegars and 
historic cures - traditions that Clare 
seems determined to revive. 

Broadway Market, on the edge of 
London Fields, has exploded over the 

Dishes of the day 
(from top): The 
Clove Club in 
Shoreditch Town 
Hall; blood cake 
at Lyle’s; Rawduck 
in Hackney; 
beetroot with 
goat’s curd at 
Wright Brothers 

past few years to become a proper 
foodie destination with its Saturday 
farmers’ and food market forming the 
hub around which new restaurants and 
food shops have sprung up. The first 
restaurant of note on the market was 

• Buen Ayre (50 Broadway Market, E8., an Argentinian restaurant 
where all the meats are cooked over an 
authentic wood barbecue and served 
with deliciously spicy chimichuri sauce. 

• Franco Manca (52 Broadway Market, 
E8. is the sister 
restaurant of its Brixton Market 
namesake and serves great 
sourdough pizzas. 

New-ish to Spitalfields Market 
but well-established elsewhere in 
the capital are the • Wright Brothers 
{8a Lamb Street, El), London’s main 
oyster supplier to restaurants. All three 
restaurants serve them shucked and 
ready to go, along with an extensive 
seafood menu, and in Spitalfields they 
don’t hide much: on the way to the 
bathroom you can view through a glass 
screen the different types of oysters 
and other live shellfish stacked up 
in boxes ready to go. 

East End residents Neil Borthwick and 
Angela Hartnett (Borthwick’s girlfriend, 
who also has a hand in the menu) 
opened • Merchants Tavern {36 
Charlotte Road, EC2. merchantstavern. on the site of the old Cantaloupe 
in 2013. The Merchants has been dubbed 
“modern British” but I reckon the menu 
is pretty European at least, verging on 
international. You can drink in the front 
bar area and eat small tapas-style dishes 
including deep-fried oysters or crispy 
pork with Asian pickles, or eat dishes in 
the restaurant such as wild garlic and 
courgette risotto or plantation pork belly 
with turnips, lentils and pickled walnuts. 
There are also sharing dishes like cote de 
boeufor smoked pork neck with spelt. 
The Merchants sits comfortably in among 
all the other restaurants in Shoreditch 
and I love sitting in the bar in the winter 
in front of the roaring fire. 

Rack stars (above): Isaac McHale and 
James Lowe at The Ten Bells; (right) 

Neil Borthwick and Angela Hartnett’s 
pub-turned-restaurant Merchants Tavern 





Having been brought up in Dorset, 
where there is a strong pub culture 
and a lot of activities such as darts, 
skittles and bar billiards. I’ve never 
been much of a pub person in London, 
because that kind of thing doesn’t 
really exist in the capital. But moving 
to Shoreditch brought back some 
West Country memories when I was 
introduced to “Sandra’s”, also known as 
• The Golden Heart (770 Commercial 
Street, El), opposite Spitalfields Market. 

Admittedly there was no darts or 
skittles or even bar billiards, but lock-ins 
until daylight, when a wooden bar 
would go across the front door and 
one of the old regulars would set himself 
up by the window and wait for the 
familiar tap which would get you in 
(so long as your face fitted). 

The likes of Tracey Emin, the Chapman 
brothers. Noble and Webster, Carl 
Freedman, Gregor Muir and Sarah Lucas 
- to name a few of the well-known locals 

- would often be seen staggering in and 
out in the early hours, and I soon learnt 
why the all-night drinking was legal - 
the old Spitalfields Market across the 
road had been the secondary London 
fruit and veg market, and since its porters 
would get a bit thirsty, Sandra had one 
of those rare old London market licences 
that ran for more or less 24 hours. 

Sandra naturally became an important 
figurehead in the art world and would 
turn up at all the best parties and art 
fairs around the world as a representative 
of all the local YBAs; a sort of godmother. 
Today it’s still great place to hang out 
and has all the traits of a proper pub, 
especially if you are doing a bit 
of shopping in the ever-changing 
Spitalfields Market. 

• Rivington {28-30 Rivington Street, 
EC2. used 
to be my place. I struggled like hell 
to get people through the door when 

There never used 
to be any hotels in 
Shoreditch apart 
from the Holiday 
Inn Express on Old 
Street and a dodgy 
hotel called the Saint 
Gregory which is 
now the Ace Hotel, 
housing David 
Waddington and 
Pablo Flack's Hoi 
Polloi. Now, along 
with the inestimable 
Shoreditch House, 
there are hotels 
going up like City 
office blocks; there 
are four being built 
on City Road, and 
at least six more 
in Shoreditch. 

it first opened in 2006, and I often 
used to call on my art-crowd neighbours 
to come and join me at the bar. I 
would host after-parties and dinners 
for young start-up galleries and slowly 
the business started changing until 
it was firmly on the Shoreditch eating 
and drinking map. 

It’s still going strong today under the 
control of Caprice Holdings, even though 
I’ve opened • Tramshed {32 Rivington 
Street, EC2. 
right next door where I serve chicken 
and steak to the masses that flock to 
Shoreditch for a night out. It’s become a 
bit of a mix of hardcore locals who know 
what they want before they come and 
tourists that want a glimpse of the Hirst 
cow in formaldehyde. Apparently it’s one 
of the most Instagrammed restaurants 
in the world - I’ve never really checked - 
but what I do know is a lot of passers-by 
come in and snap the cow and leave. 

Last year I stumbled across a tiny 
new cocktail bar called • PortSide 
Parlour (74 Rivington Street, EC2. that seemed to 
appear from nowhere just a few doors 
down from Tramshed. I nipped in for a 
quick early cocktail one Sunday evening 
and there was Charlie Otth, who used 
to work for me at Mark’s Bar in Soho. 

She has created a small “speakeasy” 
bar with her boyfriend, Robbie Acres - 
the kind of place you always want to 
stumble across and stumble out of a 
few hours later. 

After-work cocktails are handy in 
our business, as days and nights can 
roll into one and weekdays and weekends 
are one and the same, so it’s great to 
have more sophisticated watering holes 
where you can relax post midnight. 

I’ve been introduced to a few new 
late-night bars in the ’ditch by my staff, 
and probably my favourite is a New 
Orleans-inspired cocktail bar hidden 
away upstairs from the Bedroom Bar. 

It’s called • Nola {68 Rivington Street, 
EC2. I’ve never actually 
been to the Bedroom Bar, only walked 
briskly through it and up the stairs to 
Nola for a Negroni. © 

14fi GQ OCTOBER 2015 


95/96 New Bond Street. London 
Harrods, Knightsbridge 


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14S GQ OCTOBER 2015 

Photograph Sun Lee 


, f 

Inspired by the Best of British Aviation 




Y Festival N 


See “A Bullet From 
A Shooting Star”, the 
35-metre-tall sculpture 
by artist Alex Chinneck, 
on the Greenwich 

V alexchinneck. j 

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150 GQ OCTOBER 2015 

Y Festival ^ 


Classic With A Twist 
celebrates 15 years of 
creative collaboration 
between Sir Paui Smith 
and The Rug Company. 
555 King’s Road, SW6. 


K com Y 



1 The wallpaper 

By De Gournay, £150 
See it at Decorex. 20-23 
September. Syon Park, 

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By Linley, £995. See it at 
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By Paolo Moschino, 

£2,800. At Nicholas 
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com. See it at Focus/15. 
25 September. Design 
Centre Chelsea Harbour, 

4 The desk 

By Justin Van Breda. 


See it at Decorex 

5 The table lamp 

By Original BTC, £499. See it 
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Olympia London, W14. 

1 OOpercentdesign. co. uk 

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By Se, from £6,720. See 
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H A luxury penthouse 
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I Southbank is home to 
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\\^ A 

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By English 
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By Glas Italia, £1,070. 

At Interior Supply. See 
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it at Tent London. 24-27 
‘September. Old Truman 
Brewery, Hanbury Street, 
El. ^ 

154 GQ OCTOBER 2015 

Photography assistant Andre Titcombe Styling assistant Alexis Deaville Set design assistant Naomi Lewis Set builder James Askham Location Studio Private, 
Cushions by Cristian Zuzunaga, from £65 each. At Amara. Candles by John Lewis, £3 each, Paint by Farrow & Ball, from £23 for 750ml. 



The Mi||hland<‘r hiking bnol 





For 75 years, a debt has 
been owed to those who 
fought the Battle of Britain. 
This month - alongside 
Channel 4’s season of 
commemoration - we pay 
respect to the pilots who 
saved us from the darkness 

Take wing: By 
hearing the 
personal accounts 
of surviving pilots 
and taking flight in 
this Spitfire TR9, 
Dermot O’Leary 
sought first-hand 
experience of the 
Battle of Britain 

B ack in the distant summer haze of 
1983 or '84, when I was a child, it 
was standard operating procedure 
to be obsessed with the Second 
World War. And in my neck of the 
woods, a semi-rural part of north Essex/south 
Suffolk, it was all about the Battle of Britain. 

The big, booming skies, famous of Suffolk, 
lend themselves to the romance of flying; you 
have to see them on a hne day to appreciate 
them. And in southeast England, American and 
RAE bases from the war were all around us, 
some still operational. Yearly air shows, with 
old Second World War jeeps and uniforms and 
aircraft flybys, added to the allure. 

It was, of course, all very "chocks away" and 
Boy's Own - understandably so given the age 
I was at the time - but it's easy to see why the 
Battle of Britain has remained a tangible sign- 
post of history So many veterans were still 
alive and just approaching retirement age. 
Although the "golden generation" were hardly 
great sharers of their experiences, there was 
enough hrst-hand evidence for it to be fresh 
in the country's psyche. It was an unequivocal 
victory and one that from the outside didn't 
look at all bloody. There was a perceived fair- 
ness to it; it was a gentleman's battle. Even the 
uniforms looked dignihed. (Who doesn't look 
a million dollars in air-force blue?) 

My own household, which was Irish, a bit left 
of centre and had no history in the British armed 
forces (far from it: my strongly republican 
grandfather even forbade me from watching the 
"English" sports of rugby and football during my 
summer trips home to Ireland), but my father 
had no problem with my interest in the Second 
World War and the Battle of Britain. He did, 
though, draw the line on some of the comics to 
which I had a subscription. Warlord being a case 
in point. At the time, this felt nothing short of 
an infringement on my basic human rights, but 
looking back he had a point. Boy's Own they 
might have been, but there was more than a 
touch of Flashman about them, too. Week after 
week we'd read about the brave British Tommy, 
the brash but trustworthy Yank, the shifty 
"Eyetie", the dutiful Ruskie and, of course, the 
cruel and heartless Nazi. 

But as I've grown up, that Boy's Own fascina- 
tion has given way to a deep and underlying @ 

OCTOBER 2015 GQ 157 

The time will come when thou shalt lift thine eyes 
To watch a long-drawn battle in the skies. 
While aged peasants, too amazed for words, 
Stare at the flying fleets of wondrous birds’ 



(>) respect for a generation that was thrust 
into a hve-year period of madness the likes 
of which, well, they had seen before. What 
must have made it worse for that generation 
is that they'd watched their parents and fam- 
ilies torn apart by the butchery of the Somme 
and Gallipoli and had believed it could not 
happen again. But, thanks to a combination of 
the fallout from the Treaty of Versailles and a 
certain Austrian, that was not to be. 

There's been much revisionism in the last 
few years as to whether Operation Sealion - 
the code name for the proposed German inva- 
sion of Britain - would have been prevented 
in any case by the strength of the Royal Navy. 
Look at the bigger picture, but ignore the 
details at your peril. Bravery, duty and sacri- 
hce in the face of terrible odds can't be meas- 
ured in a league table. 

The fact is, these brave men and women 
of the RAF, Royal Navy and the general 
populations of our villages, towns and 
bombed-out industrial cities did hold out, 
they did persevere and they did lay the build- 
ing blocks for the Allies' recovery. 

So the fascination with the Second World 
War, for me, is the people: their stories, their 
sacrihces. Tm captivated by, and indebted to, 
very ordinary people who did extraordinary 
things. They risked drowning and freezing to 
death in the seas of the Arctic; they were the 
forgotten army in Burma; they reoccupied for- 
tress Europe; and they flew, killed and died 
over the green fields of England every day in 
the summer and autumn of 1940. 

Thankfully, many of them kept notes and 
have been harassed, cajoled and flattered into 
publishing them. For them, you'd hope, it's 
a cathartic experience in some way. For us, 
well, just read them. What's incredible is how 
detailed the memories are. I can't remember 
what day last week I saw whom, nor where 
and why. Yet these chaps, decades later, can 
recall what they had for dinner in the mess and 

the name of their pub landlord. Thankfully for 
me. I've been able to meet just a few of "the 
few" and hear their stories. 

T he RAF Club in Piccadilly: as soon 
as you enter, you feel the weight 
of history. You feel like saluting 
the crockery. It's everything you'd 
expect: untouched in decades; 
beautiful oil paintings of battles you've never 
heard of; dutiful but friendly waiters to look 
after the veterans; it even has it's own beer. 
It's the kind of place that you hope keeps its 
charm - that in 80 years it's still there, exactly 
the same, with the drone pilots of the future 
there to order a latte and do Pilates... progress. 

A couple of pilots have written definitive 
accounts of the Battle of Britain, among them 
Squadron Leader Geoffrey Wellum, DFC, who 
wrote First Light, published in 2002. 

Two years ago, I heard him speak at a charity 
dinner at the RAF Club. I'd been invited by 
my friend Matt Jones, who, and prepare to 
be quite jealous, flies a Spitfire for a living. 

I'd first met Matt a couple of years before, at 
another dinner, and we'd hit it off - in fact, Td 
become obsessed with him. He runs Boultbee 
Flight Academy at the Goodwood Aerodrome 
(part of the revolution speared by human 
dynamo Lord March) which teaches pilots to 
be, well. Spitfire pilots. As you can imagine, 
he's quite a popular chap. 

He also, and this should be one for the 
bucket list, offers non-pilots the opportunity 
to go up in a Spitfire. 

I've experienced this. My family clubbed 
together and got me a flight with Matt in the 
two-seater Spitfire and it was one of the most 
incredible hours of my life. What I remember 
most - apart from the take-off, the low-level 
flying over the coast of the Isle Of Wight and 
the frankly terrifying aerobatics several thou- 
sand feet above the green fields, nipping in 
and out of lazy-looking cumulus clouds - is 

how everyone below stops. Cars pull over, 
people stare and everyone waves. It's half 
flying history project, half national treasure. 

Matt must be used to this, but still points 
it out. "It just reinforces how important it is 
to everyone," he says. "And how lucky we, as 
modern pilots, are to be able to fly them. On 
my first flight, therefore, I was very aware of 
all of the above, but astounded by its pure 
flying characteristics. I fell in love with it, but 
was scared, too, by the responsibility bestowed 
on me, so much so that I was brought to tears 
when I landed and the aircraft was safely back 
in its hangar. Four hundred flights later and I 
still feel the same way, although I'm better at 
hiding the tears now." 

Matt is among the most experienced Spitfire 
pilots around, flying most days. He is acutely 
aware of the magic of the aircraft and the legacy 
that endures around the Battle of Britain. 

"The aircraft is a symbol of Great Britain at 
its greatest, of the coming together, at a time 
of untold danger, of designers, engineers, 
pilots and ground crew to enable a machine 
that was fit to protect the country against the 
most formidable war machine that had ever 
existed. It is a living epitaph to the bravery of 
those few who took to the skies five times a 
day, who fought seemingly without thought 
for their own survival." 

The night Matt and I heard Squadron Leader 
Wellum speak is one we still talk about. The 
idea behind any charity auction is to get as 
many rich people in a room to give as much 
money as they can to the nominated charity. 
I've worked a fair few in my time and they 
can be interminable, an ambivalent room of 
people pushing chicken dinners around their 
plates, waiting to be guilt-tripped into bidding 
for a round or two at Wentworth before they 
can make their excuses and leave. It can be 
quite uncomfortable. 

That night, you could hear a pin drop as the 
then- 91 -year- old stood up at the end of @ 

15 a GQ OCTOBER 2015 

Photographs Getty Images; Rex; TR 460/Imperial War Museum (Horrible Histories: 
Blitzed Brits runs until 10 April 2016 at IWM North, Manchester, 


History trail: 

1 Plumes of exhaust 
trace dogfights 
in the sky above 
London, September 
1940 2 The Blitz 
began in early 
September 1940, as 
the Battle of Britain 
reached its peak. 

St Paul's Cathedral 
survived largely 
intact, 1944. 3 Polish 
pilots often flew 
wing to wing with 
the British. Here, ace 
pilot Jan Zumbach 
(left) stands with his 
Spitfire and two 
countrymen, January 
1942 4 A spotter 
keeps eyes on the 
skies beside a 3.7in 
anti-aircraft gun, 
December 1942 
5 A Messerschmitt 
109 is examined in 
the grounds of 
Windsor Great Park, 
October 1940 6 With 
control of the air 
secured, American 
forces plot a mission 
to mainland Europe, 
January 1944 

IL4H il» 




@ dinner and spoke, without prompt or notes, for half an hour. 
He spoke of the excitement, the fear, the shame, the exhaustion, 
the memory that every day, every day, he woke at hrst light and 
for ten or so seconds enjoyed the dawn, then realised that he or 
someone he knew would die or they would kill someone. It's the 
reality of this everyday existence that he captures so well in First 
Light. "Oh, God. Another dawn... Is it two or three weeks since we 
came to Biggin [Hill]? I glance across to see if John [his roommate] 
is awake but, of course, his bed will be empty, collided yesterday 
with Bill Williams attacking a Hornier. Silly of me." 

The auction did very well that night. 

T t was a Friday in late May of this year when I met another 
Spitfire veteran and prolific writer. Wing Commander 
Thomas Francis "Ginger" Neil, DFC and Bar. The wing com- 
mander (I didn't have the nerve to address him as Tom and 
certainly not Ginger!) joined up on 17 October 1938, aged 
18, and went on to fly 141 combat missions in the Battle of Britain 
with the legendary 249 Squadron, with 13 enemy aircraft shot 
down by the end of 1940. With a new book out this month, he's 
shown no signs of slowing down. 

Wing Commander Neil lives in a beautiful and quiet village 
on the border of Suffolk and Norfolk, where those big skies 
still dominate. His son Patrick, a university lecturer, visits every 
weekend and was on hand to manage the interview. He also plans 
his father's diary which, having been through it with him, I can tell 
you is busy by anyone's standards, let alone a man in his nineties. 

WC Neil's memory is, of course, impeccable. He apologised 
when he couldn't remember the surname of someone he knew 
only fleetingly in the summer of 1940... their surname! He was 
incredibly candid, refreshingly honest, and although he admitted 
he never thought at the time that they'd lose the Battle of Britain, 
the British Empire being what it was, he was not in the slightest 
bit jingoistic. He also has a brilliant sense of humour. When I made 
my apologies for being late, I explained that Td got off the train 
at Hiss and taken a cab, thinking it would be quicker (which was 
a mistake). "Why the devil did you do that?" he asked, with the 
authority of a headmaster that made me feel all of eleven years 
old again before I could stumble a response. Then a glint appeared 
in his eye as he informed me, "That's bandit country." 

Over the course of the next few hours, he gave me a potted 
history of his time during the Battle of Britain - from the start of 
training through to stemming the tide on 15 September - and an 
honest account of what it was like to be flying and living on your 
wits. What struck me is how arbitrary it seemed as to whether you 
lived or died. I'm getting to the age now where, tragically. I've lost 
a couple of friends early, and it tore me apart. Of course, now is a 
different time. Back then death was a simple fact of life. Friends 
went off on missions and simply never came back. Every day. 

We've come to think that the country was champing at the bit 
for the start of the war, "Fight them on the beaches" and all that, 
but the picture WC Neil painted was different. 

"People were terrihed. The Germans had invaded with para- 
troopers in Belgium and Holland; everyone was scared stiff. We 
thought there'd be an invasion after Dunkirk. 

"[However], you were so engrossed in the hghting, two, three, 
four times a day, you're so much at the sharp end, that you never 
thought about the invasion, your friends getting killed around 
you, and, of course, you're 19 or 20. We were kids, excited; it 
was a great adventure for me. You're apprehensive before. You're 
told over the telephone. Twenty, 40, 50, 100 [German aircraft] 
building up across the Channel' Once you've taken off, you're so 
busy, climbing up into the clouds, aware that you're in full sight 
of the enemy." 

WC Neil was clear about the chaos surrounding the pilots. I 
shouldn't have been surprised by this, but thanks to comic books. 

styling Mark McMahon Grooming Sarah Exiey using Dermalogica. Jacket by Belstaff, £595. T-shirt by Sunspel, 
£55. Trousers by Gucci, £380. At Boots by Russell & Bromley, £195. 

films and computer games, Td always thought of two aircraft 
seeking each other out and embarking on a doghght, all above 
board and gentlemanly. But it wasn't quite like that. 

"You don't see the enemy beyond a mile away. Five hundred air- 
craft could pass you hve miles away and you wouldn't see them. 
So you flew towards the ack-ack [anti-aircraft guns], hundreds 
and hundreds of small black puffs, and in the middle of that would 
be 30 to 40 bombers with 50 hghters behind them. There were 
no doghghts; you just got as close as you could. Sometimes you 
got so close you could see the black crosses [on the aircraft] and 
sometimes you could even see the people in the cockpit. Then it 
would be over in a flash. You'd be diving down trying to recover 
and chasing them again, all with just 14.7 seconds of ammunition." 

The more you hear statistics like this, the more the scale of 
what was achieved on 15 September hits home. The enemy had 
55 seconds of ammunition, the British planes just 14.7; the British 
were outnumbered two to one; hit rate in the held was only three 
per cent - 97 per cent of bullets missed. It's a stark reminder of 
how that day shaped the future of the war and this country. 

For WC Neil, though, there's no room for romanticism. "It was 
no different to any other day. I just had more success. The Battle 
didn't truly end on 31 October. It went on until Christmas and 
then the weather got bad." 

So how did they stem the tide against such huge odds? 

"Broadly speaking, you go to war and you're roughly even- 
stevens in terms of efficiency; if you're over enemy territory, you 
will lose two to one. During the Battle of Britain, the people we 
hew against and triumphed over were the same people we encoun- 
tered over Malta, where they wiped the hoor with us. The further 
from Britain we were, the worse equipment we got." 

WC Neil didn't suffer from post-traumatic stress disorder and 
was able, somehow, to put a cork in it. He put this down to the age 
he was at the time, but was sympathetic to others who encoun- 
tered it. However, before I leave, he conhded, "I lay awake at 
night, even now, thinking I should have done more, criticising 
myself, I should have done more." 

After breaking for lunch we were joined by WC Neil's grand- 
son Max and Max's girlfriend, Laura, both bright young things in 
their twenties studying for their masters. It was a wonderful couple 
of hours, with subjects ranging from rating Second World War 
hghters and the show we have planned, to Jeremy Paxman and 
The X Factor. It says much for a man in his mid-nineties that he is 
able to engage in the conversations of modern Britain and never 
seem out of his depth, always engaged, always listening. If there's 
a secret to the mindset behind longevity, I felt I was looking at it. 

After lunch, and a couple of glasses of very good white 
Burgundy, the conversation continued until, eventually, the WC 
excused himself. Around 30 minutes later, as we made to leave, I 
saw that he had retired to his chair in a quiet front room for a nap. 
I didn't get to say goodbye, nor to thank him... for everything. 
I hope he didn't give himself too much of a hard time before he 
drifted off. He really shouldn't have. © 

Scramble! by Tom Neil is out on 28 September (Amberley £25). 
First Light by Geoffrey Wellum is out now (Penguin, £9.99). 

Matt Jones flies Spitfires at Boultbee Flight Academy. Dermot O'Leary presents Battle 
Of Britain: The Last Of The Few on 13 September and Battle Of 
Britain: Heroes Fly Again on 15 September, both on Channel 4. 


For these related stories, visit 



34 - 36 0 R U TOW STi?£ET LONDON W U &QX 02 0 7493 WILLI A W A NOSO N-CO M 

► There Is Such A Thing As A Good War (Tony Parsons, May 2015) 

► Walking With The Dead (Dylan Jones, May 2014) 

► Icon: James Salter (Jonathan Heaf, May 2013) 



Take tlie iconfe Fiat 500. Now Efnagine 
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1 11 

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COj emissions 110 88 g/km. fyil conauniptiwi wd COi buod m BtuidDid EU Inis for compsnsltm puTpcnnond mo/notnflect real driving mutts. 

Photograph Getty Images 


Independent, yes. Influential, definitely. 

But invincible? When the once untouchable 
hyper-blog ‘gay shamed’ a top media 
executive it found itself facing some very 
powerful enemies. Can owner NICK DENTON 
rid his site of its guileless editors or is he 
about to burst his own dotcom bubble? 


OCTOBER 2015 GQ 163 


It is hard not to I 
admire Gawker’s 
achievement in 
you are in the ■ 
media business 

It has a distinctive voice and identifiable audi- 
ence and, maintaining its independence, has 
grown into quite a prohtable business. At the 
same time, if you have any position above 
assistant in the media world - indeed any real- 
ised aspirations at all that might make you its 
target - it is hard not to hope that Gawker's 
present challenges will bring it down. 

For me, as for many, it's personal. Gawker 
"gossiphed" details of my life in inaccurate, 
contemptuous, hyperbolic and unrecognisable 
ways, in order to hurt me and entertain its 
readers (and its writers). That makes me one of 
hundreds or thousands who have endured this 
abuse, so many that Gawker would argue its 
insults are meaningless. But the multitude of 
us, however in passing the insults might seem 
to Gawker staffers, now form the bedrock of 
enmity that could hnish the company. 

Of course, our embarrassment and fury is 
exactly the frisson that seems to have captured 
a cultural and class moment and delighted an 
audience - or, sometimes it seems, a generation 
- that can't get enough of our falling heads. 

In fact, this is the proposition that, as I write, 
is being tested: is there an endless appetite for 
Gawker's ad hominem character attacks and is 
this free speech or barbarity? 

Gawker's casual cruelties will shortly face a 
law suit by professional wrestling icon Hulk 
Hogan, who is seeking $100 million (£64m) 
from a jury in his Florida hometown over 
Gawker's posting of a section of a sex tape 
with Hogan and the wife of a friend. What's 
more, Gawker, in late July, outed the details 
of an alleged gay hook-up by a married Conde 
Nast executive, a media hgure with neither a 
public role nor prohle. A non-famous name cut 
down for no other reason than that Gawker 
was (possibly maliciously) supplied with 
texts said to be evidence of the man's desires. 
One of Gawker's editors. Max Read, took the 
opportunity to tweet, "Given the chance, 
Gawker will always report on married c-suite 

My treatment at 
Gawker’s hands 
reflected the arc 
of its move from 
simple mockery 
to something 
more brutai 

executives of major media companies f***ing 
around on their wives." 

A backlash, or shaming - that singular 
social-media moral outrage and vigilantism 
that Gawker's derisiveness had, in the past, 
been so good at bringing down on other people 
- turned on Gawker itself. Gawker's proprietor, 
Nick Denton, an increasingly hands-off edito- 
rial manager as the company has grown larger, 
repudiated the article and ordered it taken 
down. The staff reacted with outrage and the 
two top editors, editor-in-chief Read and exec- 
utive editor Tommy Graggs, quit. 

D enton is a 49-year-old gay, Jewish 
Brit, largely disdainful of the UK, 
who made an early dotcom score 
with First Tuesday, a tech net- 
working and PR-type business, 
and moved to New York in 2002. 

Many great editors are social climbers, eager 
to be noticed by and connected to the larger 
world, in more or less love-hate thrall with its 
famous and powerful hgures. Likewise, they 
are also often outsiders, needing a pretext 
to gain notice and entry. Gawker began as 
a catty, not-too-well-informed blog about 
the media business - among the hrst to focus 
on media personalities. From the outset, 
Denton set himself up less as editor and 
reporter and more the face, the eminence, 
the CEO and editor-in-chief and publisher to 
his apprentice staff. 

He seemed to have a gift for Ending young 
people who, feeling excluded from the media 
career mainstream or uncomfortable in it, 
identihed with his outsiderness and became 
his acolytes and hit men. Gawker was a version 
of the alternative or insurgent press that, 
because it was one of the first success models 
in digital publishing, quickly became, with 
complicated irony, a dominant and established 
voice, however crude and scabrous. 

Denton, although socially maladroit and 
broadly contemptuous of the world he was 
intently infiltrating, began a ten-year rise as 
a hxture on the New York social scene, part of 
that small population of media hgures desper- 
ate to promote themselves or absent a personal 
life, who are out every night. His ambition 
took the form of anthropological interest - 
he was there and yet not there, a curiously 
phlegmatic figure who might at any time yet 
turn dangerous. He was drawn to power, but, 
defensive enough to want to have something 
to hold over the powerful. 

Once, at a New York dinner for Evening 
Standard and Independent proprietor Evgeny 
Lebedev - a peculiar example of how Denton 
benehtted from the strong British presence 
in New York and of how misguided it was to 
invite him to private events - Piers Morgan, 
sitting near Denton, prefaced some point as 
being off the record, with Denton genially 
replying, "Since I can't remember what's off or 
on I just assume everything is on." {>) 

164 GQ OCTOBER 2015 distributed m four iapke"; v *-3 *44 7Gei9ieSi 






(>) And yet, while Denton was representing 
a new level of transparency, he was, at the 
same time, calculating what people he needed 
as allies (a carefully curated coterie of writers, 
reporters and pop-culture hgures - oddly, he 
became a favourite internet hgure for the 
established media) and what people he might 
gain more from sacrihcing. He was, in other 
words, that ultimate gossip type: ruthless and 
yet, if it suited him, deferential and charming. 

As it happened, I seemed to fall into some 
middle category, at hrst a plausible ally and 
then an expendable hgure. Denton, who I met 
in his early years in New York, turned out to be 
among my biggest fans, treating a book I had 
written. Burn Rate - a scornful account of my 
dealings with many media and internet hgures 
- with an intensity that made me worry that 
its cruelties might have served as some kind 
of inspiration for him. 

My treatment at Gawker's hands rather 
reflected the arc of its move from simple 
mockery to something more brutal. Its clever 
barbs opened up new levels of connections in 
media land (for every person you diss in media, 
you make 100 friends), quite an incestuous 
world from which (and on which) Gawker 
began to feed. In my case, a former Gawker 
editor was the girlfriend of my girlfriend's 
former boyfriend, which gave her the inside 
track on knowing my marriage was crumbling 
and that I was involved with someone else 
(ie, the former girlfriend of her boyfriend). 
Anyway, this was shortly to become for me 
painful Gawker fodder. 

More claustrophobic still, Denton then went 
on, inexplicably, bizarrely to try to pursue a 
friendship with my girlfriend, offering her jobs 
and invitations as though nothing at all amiss 
or hurtful had ever occurred. And, indeed, 
there was Denton suddenly sitting at my 
dinner table. Until the next insult... 

There is something about the scorpion and 
the frog here. A signihcant part of Gawker's 
editorial mission and power, reflecting 
Denton's own obsession, involved hguring 
out who was having sex with whom - of iden- 
tifying this as people's most vulnerable point, 
and recognising that the internet and its lack 
of ordinary restraints increased that vulner- 
ability many fold. 

This new level of exposure and vulnerability 
was compounded by Denton's hands- 
off attitude. Instead of him having to take 
responsibility or pass personal judgement 
on what he published, he had empowered a 
young staff with the licence to lambast anyone 
it wished who was not specihcally protected 
by a staff member or by Denton himself. 
(And, indeed, for the staff it became some- 
thing of a sport to try to cross Denton's own 
line of protection.) 

Still, while granting his staff this weird life- 
and-death power over many people, Denton 
also relegated his minions to insignihcance 
too, paying low salaries, granting no equity 

Seldom has a 
window into the 
skewed heart of 
journaiism been 
opened so widely 
as by Denton’s 
ensuing posts 

(the equity he had granted early on, he wres- 
tled back) and regularly bring and demoting 
those he raised from the ranks to positions of 
leadership. Such ill-will, ever-mounting cyni- 
cism and complicated feelings caused the staff 
to unionise this year - the hrst union election 
in digital-media history. 

D enton's own life over the past few 
years, as his staff became more 
restless and more powerful, was 
proving to be a distraction from 
his business and, as well, a per- 
fectly Gawker-like story. 

He was surprisingly forthcoming about 
his sex life. Then there was his late discov- 
ery of the joys of marijuana. And then he 
fell in love. (The many awkward social media 
posts of Derrence Washington, who Denton 
married in a wedding-of-the-year type affair 
at the American Museum Of Natural History 
- mobile phones were banned - might other- 
wise have made for some signature Gawker 
cruelty.) And he drifted further away from 
the business. 

The staff, many of whom had only ever 
worked for Denton, needing his approval, 
disdaining his approval - who knows what 
- acted out, making Gawker ever-more 
Gawkerish. That is, if there is always a bne 
line of tone in the art of the insult, they tra- 
versed it and trashed it. 

The Hulk Hogan lawsuit, which the 
company has failed to settle, seemed to 
crystallise some heretofore absent sense of 
vulnerability for Denton. While he hotly 
defended free speech principles, he acknowl- 
edged the company's serious exposure - his 
own fortune was at risk. He even began to 
try to sell a piece of his near wholly owned 
enterprise, hedging his own bets. 

And he began, on occasion, to critique his 

young staff, characterising them as in need of 
tutoring and guidance. (At a cocktail party at 
his SoHo apartment, Denton dragged me over 
to meet a small group of his staff members in 
an antisocial huddle, saying they needed to get 
to know some adults. The next day, Gawker 
savaged my girlfriend.) 

And then came the outing thing - a brutal, 
lethal takedown of someone whose life and 
activities were, by any estimation, remote 
from the public interest. 

Seldom has a window into the skewed heart 
of journalism been opened so widely as by 
the ensuing public posts among Denton, his 
editors who summarily quit, and other out- 
raged staff members nevertheless trying to 
hold on to their jobs. 

It's dense and rich and almost Dickensian. 
(Even the names - Graggs and Read - seem 
straight from Great Expectations.) Perhaps a 
bit of Dostoyevsky too. And Lord Of The Flies. 

The back-and-forth arguments are bald and 
twisted, with Graggs and Read appearing to 
maintain that the meaning of talking truth to 
power was the ability, on their whim alone, to 
destroy the powerless. And that sex itself was 
the dirty white man's secret that they were 
honour bound to expose. And that any inter- 
ference with journalism, their journalism, was 
corruption and the most egregious manifesta- 
tion of capitalism. 

"Make this into an advertising company, 
then! Say what it really is! It's not a place for 
journalism!" declared one young staff member 
at an open staff meeting. 

Denton, meanwhile, alternately, in a 
rambling justification, accepts and denies 
responsibility for "a site" he admits "has been 
out of control of editorial management". 
Still, he praises a "beloved editorial leader" 
(Graggs), yet attacks him for perpetuating 
"tabloid trash". His breathtaking conceit is that 
this has all taken place outside his control, as 
if he is Dr Frankenstein, not responsible in the 
least for what the monster did once he escaped 
the basement laboratory. 

A few days after these missives flew, 
and after the weight of social- 
media opprobrium came down on 
his head, and after many journal- 
ists - including me - hnally took 
on the suddenly quiet Gawker beast, I ran into 
Denton at a SoHo lunch spot. 

He was charming and deferential and cheer- 
ful. "This was the best thing that could happen 
to Gawker," he said. "It's a new day." © 


For these related stories, 

► Prince Charmless (Michael Wolff, September 2015) 

► Hail the Ubermensch (Michael Wolff, August 2015) 

► Sinking Like A Rolling Stone (Michael Wolff, 

July 2015) 




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The fine print: 

The Canon Pixma 
MG7550 has the 
highest maximum 
resolution on 
test and can be 
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D Pixma MG7550 
by Canon 

Our main test was a colour photo 
print at best quality and the Canon 
produced outstanding results - it 
has the highest maximum resolution 
on test. We also give it design props 
because, well, it doesn’t look like 
a printer. What’s more. Canon has 
made it NFC-compatible, so you 
can send an image from your phone 
simply by tapping the handset. 

Win: Smallest on test 
Fail: Standard quality 
black-and-white photocopy 
had a comparative lack of detail 

n Envy 5530 by HP 

It’s impressively affordable, but that 
means - as you’d expect - it comes 
with compromises. The HPtookthe 
longest to complete the photo test 
(three minutes) and its output, 
although not disastrous, was not as 
strong as the others’. Even at best 
quality, prints were soft and there 
were faint bands across the image. 
Also, there was a comparative 
lack of detail in standard quality 
photocopying. We’d pay £70 
more for the Canon. 

Win: Inexpensive 
Fail: Entry-level performance 

B Expression XP-860 
by Epson 

The Epson is a zippy thing: it 
finished printing its photo in the 
fastest time (1 minute 26 seconds 
from uploading to completion) and 
it produced a sharp image with 
plenty of detail, even in the 
shadows. Its only weaknesses are 
the default colour balance - we 
found that it slightly skewed red, 
which is something that would have 
to be adjusted manually - and 
comparatively styleless exterior. 
Win: Lightning fast 
Fail: Design is office-like 

□ MFC-J6920DW 
by Brother 

This beast of a machine is the 
largest on test, but by far the most 
professional: it whips through 
photocopies (16 seconds for black 
and white, 17 seconds for colour - 
both with outstanding quality) 
and it produced a fantastic photo 
print. There’s plenty to recommend 
this device, but loading paper 
is fiddly and you’ll have to set 
aside some serious table space 
to accommodate it. 

Win: Rapid action 
Fail: Big footprint 





1 Brother 

Max print resolution 


9,600 X 2,400dpi 

4,800 X 1,200dpi 

5,760 X 1,440dpi 

6,000 X 1,200dpi 

Dimensions (w x d x h) 


435 X 370 X 148mm 

445 X 332 X 120mm 

390 X 339 X 191mm 

553 X 433 X 310mm 













170 GQ OCTOBER 2015 

Photograph Matthew Beedle 

GQ Promotion 




2-27 NOVEMBER 2015 ll If 



For a second successive year, the exclusive 
club La Maison Remy Martin will be opening 
its doors and telling the story of this celebrated 
cognac to its latest (and luckiest) members 


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n Cigma Vape 

At lOSmiTi long, this feels like an analogue 
cigarette. You’ll need two, though, 
because the battery runs out after around 
80 puffs, but each non-adjustable hit is 
pleasantly Marlboro Light-like. Remember 
to carry around fluid refills, though, 
because each charge uses around two. 
From £25. 
Win: Design; end glows orange not blue 
Fail: Short battery life 

n Series-E Protank by JAC 

It’s cumbersome, but the simple design 
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button on the battery, but unlike other 
vapes catering for “light to heavy users”, 
a pull on the mellowest setting won’t feel 
like organ failure. 

From £45. jacvapour. com 
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B MVP3 and iSub Tank 
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Ignoring that huffing on what looks like 
a steampunk Dictaphone is profoundly 
uncool, no human will have the lung 
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£83. At 
Win: Long-lasting 
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□ Innive by Vapoursson 

This is the best all-round vape here. You 
get a non-adjustable cigarette-like hit, 
the battery’s good for around 800 puffs 
and the chamber will hold all the e-liquid 
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Win: Easy charging 
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HThe One Box and tank 

Even on the lowest setting you’ll be 
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but it hurt too much to carry on. 

£35. At 
Win: Relatively compact 
Fail: Feels like it’s bad for you 



Cigma Vape I 

JAC 1 


1 Vapoursson 

1 The One Box I 






















Battery life 


1 hour 

15 hours 

58 hours 

10 hours 

40 hours 

Number of puffs 







172 GQ OCTOBER 2015 

Photograph Matthew Beedle 


Make memories last - 
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Jeans, £30. Necklace 
by Topman, £10. 


OCTOBER 2015 GQ 179 




Shirt by Nick Grimshaw 
For Topman, £40. 
T-shirt, £7. Jeans, £45. 
Necklace, £10. Bead 
and fabric bracelet, 
£6.50. Silver bracelet, 
£8^0. All by Topman. . 
topman. com 

HE has been GQ's Best-Dressed Man 
(in 2014) and is one of London 
Collections Men's most high-profile 
ambassadors, so Nick Grimshaw's new 
collection for Topman was a project 
that was waiting to happen. 

"I always wanted to design clothes; 

I was always up for it," says the Radio 
1 Breakfast Show DJ, The X Factor 
judge and hxture on London's social 
scene. "When I was younger, I thought 
that maybe I would work in fashion or 
in music, but then music was my hrst 
love so fashion never really happened. 
But then I started going to meetings at 
Topshop when Kate [Moss] was doing 
her launch party for her range and 
I was DJing there, and I suddenly 
thought, T wanna do a range, too.'" 

The initial reaction, unsurprisingly, 
was "doesn't everyone?" But he had 
obviously planted a seed, and a little 
later the Topman team called up and 
arranged a meeting with design 
director Gordon Richardson and 
marketing director Jason Griffiths. 
"They are a dream team. I met them 
and it seemed to spark some ideas, so 
[I took in] pictures and clothes that I 
like, and they got it straight away. 

"Then we moved on to design 
meetings. I thought Td just go in and 
they would hand me some clothes and 
I would sign them off or something, so 
I was astonished when I realised they 
really wanted me to be involved. So 
then we had design meetings - some 
were productive and one or two were 
awful when it became obvious that 
I was pushing a vibe they really, really 
weren't into. We were going to do 
a festival collection because I had said 
I hated 'festival fashion' as a term. 

This started a conversation about how 
weird it was that people dressed like 
shit for festivals, whereas I always 
want to look my best because it is like 
being on the greatest weekend of your 
life. But it ended up turning into what 
I wanted to wear all the time." 

Grimshaw, 31, says he has two 
styles - "the Kurt Cobain rip-off and 
the Jamie Hince rip-off". He loves 
what rock stars wear - pointy boots, 
silky shirts, good skinny jeans - but 
he can't use the term rock'n'roll to 
describe his look. "It makes me feel 
sick. If I read that someone said 
that I dress rock'n'roll, Td say go 
f * * * yourself." 

When he went into the design 
meetings he would bring in piles of 
scrapbooks. "I make scrapbooks all the 
time and these were full of stuff I had 
drawn or prints and clothes that I 
really liked. Some days I could go in (>) 



‘I used to 
think, “How 
hard could it 
he to make 
30 pieces of 
clothing in 
six months?” 
Actually, it’s 
really hard’ 

Jacket by Nick 
Grimshaw For Topman, 

£200. T-shirt, £7. 

Necklace, £10. Both by 
Topman. topman. com 

OCTOBER 2015 GQ 101 

• w 

, 'A 

\ ^ 

• • 

\ ' 

A \ 

\ % 

* 1 , 

i m 

• 4 


» • * 

'm ® f • 

The 10th Anniversary Issue 

Print and digital edition 

On sale 24 September 

Photographs Getty Images; Rex 


Main: Jacket, £15b. 
Shirt, £40. Both 

by Nick Grimshaw 
For Topman. 

Jeans by Topman, 
£30. topman. co^ 

Man of the cloth 
(below from lefts): 
Grimshaw flank^ 
Kate Moss at heF 
X Topshop launch 
in April 2014; at 

@ and say I wanted to do 
a handwriting print and 
then some days I would 
go in and decide that I 
didn't like anything that 
I'd said the week before. 

"The hardest thing was 
being dehnite. I wanted 
to do a leopard-print 
coat and although they 
liked the idea, it was 
difficult for me to translate what I had 
in my head into what it would actually 
look like. Then they'd give me 20 
fabric options and we'd have to think 
about the buttons and the colour of 
the thread. If you do TV, you just turn 
up and someone has already written 
the script for you." 

And then, of course, the samples 
would come back and wouldn't be 

Clothing, clockwise 
from top: Coat, 
£150. Neckerchief, 
£15. Jacket, £100. 
Jumper, £50. 

Shirt, £40. All 
by Nick Grimshaw 
For Topman. 

London Collections 
Men, June 2015) 

what Grimshaw had imagined. 

"There's a lot of back and forth," 
he admits, frankly. 

"Before this experience, I could 
never understand why designers never 
seemed to hnish their collections on 
time and would moan that they hadn't 
slept for three days before the show. 

I would think, 'How hard could it be 
to make 30 pieces of clothing in six 
months?' Actually, it's really hard. But 
I loved it. I mean, I thought I would 
love it, but I loved it even more than 
I thought I would." 

It may sound unlikely, but Grimshaw 
claims he has inherited his father, 
Peter's, style - or, at least, his 
approach to dressing. "My parents are 
polar opposites in their outlook on 
clothes. My father buys expensive, 
classic things like a black cashmere 
jumper and has the same look day 
after day. I think that, for a man, that's 
the way to do it and so that is 
basically what I do. My mother, on the 
other hand, loves buying everything 
that exists in every shop on the high 
street and never [wearing] it." 

He may have been born and bred in 
Oldham, Greater Manchester, but his 
hrst real fashion memory dates back 
to a trip to the US. "I remember going 
to New York when I was 13 with my 
mum and dad. We went to [an outlet 
mall in] Arizona where Dad bought me 
orange and silver Tommy Hilhger high 
tops - fabulous, though disgusting. 
Then I bullied my parents into buying 
me a silver Hugo Boss padded jacket. 
At that time, I wanted either to dress 
like Puff Daddy or Liam Gallagher. Td 
have the Liam Gallagher hair and then 
the Puff Daddy clothes - quite a mix." 

Nowadays Grimshaw's style icon is 
Pharrell Williams - mainly because 
of his ability to wear a good hat - a 
talent Grimshaw claims he just doesn't 
have. "I can't wear a hat because my 
head is so massive - it's the biggest 
head I know - 1 can't hnd one hat that 
suits me. I can't even wear beanies. 

I once had a clothing budget for a 
TV show so I went to St James's and 
bought this really lovely hat for £300. 
It wasn't quite as big as [PharrelTs] 
Vivienne Westwood version, it was 
more like a trilby, but I had tried it on 
in the shop and I thought I looked 
great. But then I wore it to the pub to 
meet my friend Julie and she told me 
that, in fact, I looked ridiculous." 

But he claims his worst look ever 
was in Ibiza back in 2009. "I wore a 
Phillip Lim vest with an Aztec print 
and I had bleached hair. I don't think 
anyone should do that." RJ © 

OCTOBER 2015 GQ 103 



O As a student at St Andrew's, I find myself attending a 
plethora of black-tie balls, parties, and other events. | 
I am finding it difficult to look individual among hundreds 
of near-identical dinner suits. I had thought my shawl-lapel ^ 
number would do the trick, but it seems that everyone is 
wearing them now. Is there anything I can do to add a little 
more character? 

Andrew, via email ' 


I don't mean to be funny but this is one of those questions 
I regularly receive that leaves me baffled. I always thought . 
the point of black tie is that everyone looked the same! Of 
course, I understand that looking the same as everyone else : 
might seem a bit dull but believe me, trying too hard to stand : 
out is risky So it should be all about details. Andrew states ■ 
that he feels stupid wearing coloured pocket squares - or bow ■ 
ties - as his friends sometimes resort to doing, so that's out. - 
What I would look at first is the shirt and the shoes. In my 
time I have worn a number of different dress shirts, from 
pleated fronts to the heinous Sloane style with contrasting : 
backs. By far the best in my experience is the marcella front 
with plain black studs - you can buy beautiful antique - 
versions in onyx, diamond, rock crystal and the like, but you 
will be looking at a hefty investment that even a student at 
St Andrew's might not be able to justify. Then I would invest 
in a pair of patent shoes such as the loafers by Burberry and 
a good self-tie bow tie - nothing looks worse than a cheap 
pre-tied bow tie unless you are mixing Martinis on a Carnival ' 
Cruise. I personally like grosgrain but others prefer barathea 
as this looks slightly denser and less shiny. If you need to j 
practise, keep tying bows around your thigh until you have 
it off-pat. Lastly - and this may sound obvious - the best way 
to stand out in a dinner suit is to make sure it fits you perfectly, 
so take it along to a tailor to ensure the legs are narrow and ^ 
the jacket doesn't look like a box. This is so much easier - and 
chicer - than turning up wearing a novelty smoking jacket. 

O I work in construction 
management and 
have struggled to identify 
a look and wardrobe 
that can transcend the 
boardroom as well as be 
suitable for a tough working 
environment on site. I have 
to address everyone from 
plumbers and electricians 
to architects and investors. 
Lee McDonald, via email 

I hear from a lot of men who 
want to know how to adopt 
a multi-functional wardrobe 
and the truth is that this is 
no easy thing, although the 
less formal atmosphere of 
today does make it easier. 

Or you can just opt for the 
suit-and-wellies look and 
keep a pair of Oxfords in 
the car. However, rather 
than just wearing a suit and 
hoping for the best, I would 
suggest splitting your work 
uniform into a number of key 
pieces that can be dressed 
up or down according to 
your schedule. I would base 
this around a navy-blue 
blazer. You can wear this 
with an open-necked shirt 
- blue is going to be more 
forgiving than white - while 
you are out and about and 
have a tie close to hand if 

Follow Style Shrink 
on Instagram 

©roberttj ohnston 

White goods: Thomas Pink’s White Shirt Bar on Jermyn Street 

you need to smarten yourself 
up. Pair this with flannel 
trousers and a pair of 
Oxfords. Again, if youYe on 
site you would be better 
choosing a chunky rubber 
sole rather than a leather 
one. As the weather 
becomes more wintry, invest 
in a trench coat to keep you 
looking smart - get a good 
one such as a Burberry as 
it should last for years, so 
is worth the initial outlay. 

• I am a recent graduate ; 

and about to embark 
on a career in banking, 
i am struggiing to find 
the perfect white shirt 
that i can wear every day. 

Can you suggest some 
piaces where i can find it? 

Chris, via email 

In normal circumstances, ^ 

there are a number of places : 

I can recommend for white ■ 

shirts. Indeed most of the 
high-street chains do good i 

basic shirts but these tend to ; 
be of the more soft-collared, j 
relaxed variety. And as we all \ 
know, the only thing banks ; 

seem to be relaxed about is : 
losing other people’s money, I 

otherwise the City is still I 

incredibly stuffy. Some years j 

ago a friend from university ■ 
joined an incredibly 
blue-blooded investment 
bank. After a couple of days 
in the office his boss told him 
in horrified tones: “Here, we 

don’t wear shirts with 
pockets on them.’’ So 
the best bet is to stick to 
something dressy. For the 
ultimate white shirt I would 
turn to Turnbull & Asser, 
but I can’t pretend that this 
would be the first choice of 
the relatively poor graduate. 
Online, check out the 
Collar Club ( 

- ready-to-wear starts at 
£69, but it also offers a 
made-to-measure service, 
plus a laundry service so 
your working week will be 
made a little easier. Another 
suggestion is Thomas Pink. 

If you go to the flagship store 
on Jermyn Street you will 
find the “White Shirt Bar’’, 
which supplies a wide range 
of variations on a theme, 
starting at £69. 1 would 
also recommend Banana 
Republic, which does a great 
basic white fitted work shirt 
for £49.50. (I would try one 
for size first, however, as 
American sizes do tend to 
come up big - our friends 
across the pond tend to lie 
to themselves and one of 
their mediums can easily 
be a European porker.) ^ 

Submit your questions to our style 

The author of our Letter Of The 
Month will receive a stylish biack 
and rhodium Townsend fountain pen 
worth £190 from Cross. Cross is the 
maker of quaiity writing instruments 
and has a range of distinctive 
iifestyie accessories, 

184 GQ OCTOBER 2015 

Photographs Sudhir Pithwa 

GQ Promotion 





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Jacket, £340. Waistcoat, 
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Mastering contemporary sartorial needs while cherishing tradition is 
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Steeped in an intrepid history, British style 
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This season, Jaeger is climbing new 
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The new clean lines of Jaeger's latest 
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Photographs Mike Blackett; Full Stop Photography 


Smooth talk 

The first of our new style columns by Jim 
Britain's favourite vlogger: this month, he 
on judging the GQ Grooming Awards 



I Still get excited when my doorbell 
goes and the postman is waiting, 
parcel in hand. So imagine my face 
when I rushed to the door to see 
him lugging two huge boxes with a 
big "GQ" printed on the side. 

When I was asked to judge 201 6's 
GQ Grooming Awards, I wasn't 
expecting 96 (96!) different 
moisturisers, eye creams, fragrances, 
hair products, razors, gadgets and 
body lotions to turn up. I quickly 
went from joy to stress: who has room 
to store 96 grooming products? 

My own history of keeping skin 
and hair (particularly hair) in tiptop 
condition is one of trial and error. I 
didn't know that we were supposed 
to keep our armpit hair under control 
until my sister saw it poking out 
and said, "You look like you've got 
Don King in a deadlock." I got 
the trimmers out and went way 
too short - in all, er, areas. 

To date, my biggest mistake was 
when I thought it was a good idea 
to cut my own hair. I have nothing 
against self-cuts, if you have the 
correct tools and a bit of a clue of 
what to do. I had neither. My hair 
is very thick, so I hgured it made 
sense to thin it out all over, leaving an 
extremely dense base with a halo of 
fuzz on top. It took me shaving it all 
off in a frustrated rage and looking 
like a woodland creature (I have a tiny 
head) for two months before I gave in 
and paid a professional. 

Cleansing Brush 

by Clinique For 
Men, £79. 


What’S in 
Jim Chapman’s 

Face wash by 

Anthony, £21 for 

237nnl. At GroomU. 


Moisturiser by 
Murad, £32 for 
SOnnI. murad. 

Eye Contour Balm 
by Clarins, £31 for 

Coat, £1,395. 
Trousers, £295. 
Both by Burberry. 
Jumper by Reiss, 

‘My big$ 

Le was 
when I thought 
it was a good 
idea to cut 
my own hair’ 

I now keep it simple and get my hair 
cut every three weeks at Ruffians in 
Covent Garden. The rest of my body 
hair is under control too and I employ 
an easy three-step skincare regime. 

Tm currently using the Anthony 
Logistics Glycolic Facial Cleanser that 
has glycolic acid to exfoliate dead skin 
cells. I pair this with the Clinique Sonic 
System so I can cleanse a little deeper. 

When it comes to hydrating your 
face, it's important to have SPF in 
your daily moisturiser because even 
on your overcast British day, UV rays 
can penetrate your skin and lead to 
premature ageing. Tm using Murad 
Face Defence SPF15 at the moment. 
Then hydrate the eye area - and 
don't just stick your usual moisturiser 
around your eyes. The skin there is 
much more fragile and it can also be 
the hrst area that makes you look old. 

If you're new to the grooming 
game, don't feel overwhelmed by 
the myriad products and gadgets 
available, learn from my mistakes 
and keep it simple. @ 

Watch Jim Chapman's everyday 
grooming routine at 

Winners of the 2016 GQ Grooming Awards will be announced in next month’s issue. 

OCTOBER 2015 GQ 187 





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For fuU range and to find your Local stockist visit 

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iler suit by Balmain X H&M 

^.99. hm.corrT^^^^^^I 


Safe hands: 
Balmain’s creative 
director Olivier 
Rousteing (below, 
right) cut his teeth 
at Roberto Cavalli 

Classics go pop 

H&M's new blockbuster designer collaboration 
is with the French couture house Balmain and 
its design wunderkind Olivier Rousteing 

WITH 17 international labels - 
including Versace, Marni and 
Karl Lagerfeld - already having 
come on board, H&M's designer 
collaboration is one of the most 
eagerly anticipated events in 
the fashion calendar. Queues 
snake around the block on the 
morning a new collaboration 
drops into stores and the 
collection itself will sell out 
within hours - it was claimed 
that the Versace collaboration 
sold out in 30 minutes. 

And now the 18th tie-up 
has been announced and it is 
perhaps the most intriguing 
so far. Balmain is most famous 
for its beautifully crafted (and 
eye-wateringly expensive) haute 

couture pieces and so is perhaps 
not the hrst label most people 
would imagine partnering with 
the mighty Swedes. But the 
result might surprise you. 

Balmain was founded by Pierre 
Balmain in 1945. He was highly 
influenced by Christian Dior and 
his "new look" that celebrated 
the end of wartime austerity. In 
those post-war years Balmain 
was considered one of the kings 
of French fashion and dressed 
the likes of Brigitte Bardot and 
Ava Gardner, who loved his 
rehned yet opulent style. When 
Balmain died in 1982 his label 
seemed to slip into legend - 
well-considered by its peers but 
hardly newsworthy. Until, that is. 

a relatively unknown designer 
called Olivier Rousteing took 
the reins in 2011, aged just 25. 

Rousteing, now 29, was raised 
in Bordeaux, a place he describes 
as "one of the most conservative 
cities in France". His parents' 
plans for him centred around 
international law but after two 
months studying he realised that 
this wasn't for him and, on a 
whim, he moved to Italy and 
secured a job with Roberto 
Cavalli when he was just 18 years 
old. He joined Balmain in 2009 
to work under creative director 
Christophe Decarnin, who was 
making a name for himself with 
his insanely expensive pieces, 
such as £1,000 pairs of jeans. 

Despite his youth and relative 
lack of experience Rousteing 
was promoted when Decarnin 
resigned and quickly made his 
mark. His high-octane trademark 
is incredibly embellished, 
extravagant pieces that scream 
Balmain's couture roots but still 
manage to have a sexy, rock'n'roll 
sensibility. And while Rousteing 
revels in the skills of the Balmain 
atelier, he is equally obsessed 
with pop culture and the likes 
of Rihanna, whom he once 
famously remarked "could turn 
me straight". He is particularly 
famous for his friendship with 
Kendall and Kylie Jenner (who 
star in his latest ad campaign) 
as well as mum Kris and @ 

OCTOBER 2015 GQ 109 

o o 


@ half-sister Kim Kardashian 
(whose husband, Kanye, fronts 
the men's ad campaign). The hrst 
glimpse of the H&M collaboration 
was when Kendall Jenner wore 
a piece to the Billboard Music 
Awards in May. And, like the 
Kardashian clan, Rousteing is 
obsessed with social media and 
has been dubbed the French king 
of Instagram - he is easily the 
most-followed French designer, 
with more than 1.5 million 
Balmain Army recruits. There's 
no doubt that this following is 
one of the reasons H&M was 
keen to work with him. 

But his hrst love is music. 

"I love music," he says. "Music 
is my life. So naturally Rihanna 
is an inspiration. Kanye is, 
Beyonce, Jay Z, Kim." He has 
also made Balmain the label 
they love to reference in hip-hop 
circles, such as Nicki Minaj with 
her genius lyric for "Anaconda", 
"He toss my salad like his name 
Romaine/And when we done, 

I make him buy me Balmain." 

The clothes, however, are 

conventionally beautiful and 
made to the highest standards of 
French couture. "It is traditional," 
he admits, "but at the same time 
it's really pop and that's the 
weird mix that I love to create." 

So how is this all going to 
translate to a collection that 
will be sold in H&M? Can 
the Balmain Army become the 
Balmain World? "When they hrst 
came to me late last year to ask 
Balmain to be involved in this 
collaboration I was so pleased," 
says Rousteing. "I love H&M and 
I love its vision. I couldn't say no. 
I still wear H&M and I just love 
its global nature and the vision 
it brings to the world, and I think 
it is great to mix my vision with 
their huge global platform." 

Not surprisingly, however, 
when you consider what Balmain 
is, Rousteing had his concerns. 
"Balmain is super-expensive so 
it was really a challenge. The 
H&M team knew this, too, but 
they knew what they were going 
for. They wanted the luxury, 
they wanted the sharpness of 

the jackets. The challenge 
was to make it affordable, so 
we changed the fabrics and 
techniques. We did a little less 
embroidery. It was a compromise 
but we made certain the quality 
was still there. It wasn't easy for 
me and it wasn't easy for them, 
but I think we should be proud 
of the result. I know there are 
people that love Balmain but 
who can't afford it. Maybe they 
will never be able to afford it 
but now for once in their life 
they can have a piece of me." 

This is the second collaboration 
- after Alexander Wang last 
year - that H&M's head of design 
Ann-Sohe Johansson has 
overseen and she agrees with 

Rousteing has 
made Balmain 
the label 
they love to 
reference in 
hip-hop circles 

Rousteing that it was challenging. 
"We set the bar pretty high 
to work with Balmain. We 
had never done anything so 
decorated before," she says, 

"and we weren't sure we would 
be able to pull it off. But our 
suppliers thought it was fun to 
do something so full-on and I 
think Olivier is really happy with 
the end result." And that result 
is almost a beginner's guide to 
Balmain for the hve years that 
Rousteing has been at the helm, 
all embroidered military-inspired 
jackets, tailored velvet blazers 
and luxury leather jogging pants, 
as well as T-shirts. The look is 
unique and just a little fabulous. 

So what's next for Rousteing? 
"You know, it's scary because in 
other people's eyes I've achieved 
so much and Tm not even 30," 
he says. "So I don't know what's 
going to happen next. I just want 
to wake up every morning with 
a smile and be happy in what I 
do. The day that Tm not smiling 
any more in fashion, I will do 
something else." rj ® 

190 GQ OCTOBER 2015 

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Sweet dreams 

Ermenegildo Zegna’s new citrus fusion 
Acqua di Bergannotto is a breath of fresh air 

Fruits of their labour: 
Acqua di Bergamotto’s 
citrus notes have been 
sourced from Calabria, 
southern Italy, where 
more than 80 per cent 
of the world’s bergamot 
is produced 

WHEN Ermenegildo Zegna 
founded the company that bears 
a century ago in the 
Alpine foothills, his philosophy 
was simple: produce the best cloth 
possible. Since then the company 
has become an all-round luxury 
brand and the Zegna family has 
stuck to its desire to be the best 
in all its ventures. 

Zegna launched its hrst cologne 
in the Nineties, but it was in 
2012 that it became a serious 
player in the fragrance business 
with the launch of its Essenze 

collection. This was a series of 
hve scents featuring a "hero" 
ingredient - Italian Bergamot, 
Javanese Patchouli, Sicilian 
Mandarin, Elorentine Iris and 
Indonesian Oud - that had 
been produced exclusively. 

Since then the range has 
grown and now it is joined by 
a new, fresher edition, Acqua di 
Bergamotto. Heavy on crisp citrus 
notes, it features bergamot from 
Calabria in southern Italy, which 
is the home of more than 80 per 
cent of the world's production of 
this small orange. This is blended 
with neroli, rosemary and vetiver 
and the result is said to be 
reminiscent of a sea breeze 
blowing in off the Ionian Sea. 
What is certain is that it is as 
easy to wear and as stylish 
as a perfectly cut Zegna suit. 
Robert Johnston © 

£76 for 100ml 




4 1 swear by Myswear 

This September, the luxury online fashion juggernaut that is Farfetch is 
teaming up with cult footwear brand Swear to launch a fully customisable 
shoe collection. The new Myswear collection will allow customers to 
create one-of-kind designs based on 12 key silhouettes and a huge range 
of luxurious & exotic materials. All bespoke shoes will be hand made in 
Portugal and ready to deliver to your door in only 4-6 weeks. 

Prices start at £225. 


1 Flannel forever 

Regardless of the season, a good flannel 
shirt is always in style and Uniqlo has one of 
the biggest and the best flannel collections 
available on the high street. Layer under a 
sweater for a preppy look or wear open over 
a T-shirt for a grungy vibe. £24.90. 


All tied up 

A man’s tie 
collection is not 
oomplete without 
an appearance by 
Hermes, and the 
French wonder 
-brand’s latest 
designs are sure 
to make a 
welcome addition. 
£ 126 . 

Keep It personal 

This season, Spanish casualwear brand 
Massimo Dutti relaunches its bespoke 
service. The new Personal Tailoring 
concept will include three collections 
covering casual tailoring. City-inspired 
tailoring & formalwear. Prices start 
at £425. 

OGo green 

Luxury London- 
based menswear 
brand Troubadour 

is certainly ticking 
all the right boxes 
with the introduction 
of its new Olive 
Green luggage 
collection. £1275. 

mOQ AUGUST 2015 


Tartan takeover 

Winter means one thing and one thing only - the 
reappearanoe of tartan. The celtio olassio has been 
reinterpreted beautifully in this short, boxy jaoket by 
Italian connoisseurs of style Brioni.£J, 400, 

Autograph hunter 

This winter sees the re-launch of 
Autograph menswear at M&S. Taking 
on a more casual, sports-luxe vibe 
the collection features everything 
from bomber jackets and statement 
knitwear to tailoring. With Oliver 
Cheshire as the new face, the collection 
looks fresher than ever. Jumper, £45, 
Jeans £35. 


Watch hunger stop 

Available in black and gold 
tones, this October sees 
the launch of the Bradshaw 
100 timepiece - the latest 
addition to Michael Kors 
Watch Hunger Stop 
Collection. Its global Watch 
Hunger Stop campaign 
ensures that for every 
watch sold 100 children 
in plight will be fed. £279. 

O Checking it out 

Italian brand Remus Uomo 
has nailed the classic check 
suit with its midnight blue 
take on the look. Wear for 
work, weddings and just 
about everything in between. 
Jacket £149, Shirt £35. 
remusuomo. com 

two limited edition 
pieces; the Kasso 
hooded coat and The 
Outback quilted vest. 


AUGUST 2015 GQ 195 

Making it 

Thanks to Massimo Dutti, 

standing out from the crowd has 
never been easier. A reworked 
tailoring service will now see you 
through from the boardroom to 
the ballroom in personal style 

If there's one essential rule around which 
to base your winter wardrobe, it's to dress for 
the occasion. With this in mind, suiting masters 
Massimo Dutti have revealed a remarkable new 
service to their tailoring: a completely personal 
twist that sees those looking to upgrade their 
tailoring through to another level. 

Wind back the clock and you'll see the 
options to personalise a Massimo Dutti suit 
limited to a more general approach. Now, 
however, it's a different story - with even the 
smallest of details available for customisation. 
For instance, the shape of the double- 
breasted jacket and trousers can be modihed 
as well as the interlining, which means all the 
components - from the most prominent 
features to the minutest details - all add to 
the individual characteristics of your suit. 

Moreover, Massimo Dutti's tailoring concept 
is built of three core lines: Country Lux, 
Business Lux and Extreme Lux; all of which 
are available for personal service from the 
tailoring creative team, who have worked 
directly with Vitale Barberis Canonico, 

Ashton Shirtings and Scabal. 

In short, the possibilities for personal and 
individual style are endless and with Massimo 
Dutti, you'll be dressed for any occasion. 
massimodutti. com 

GQ Promotion 

Material matters 

Fine dressing is all about perfectionism. 
After a first personal tailoring order, 
any customer can access a premium 
online area that details their 
measurements and order records, 
meaning personalised items are 
just a click away. 



1 . Single-breasted waistcoat 2 . Suit trousers 
3 . Double-breasted jacket 4 . Smoking jacket 
5 . Polo coat 6 . Dinner jacket 


Prel-a-porler with Massimo Diilli 

As well as the personal 
tailoring service, Massimo 
Dutti is now championing 
smaller, capsuled collections 
that work pefectly alongside 
this autumn/winter’s tailoring 
launch. Made up of sweaters, 
chambray shirts, ties, mother 
of pearl cufflinks and leather 
business card holders, each 
piece is another step towards 

a personalised style, while 
supporting each tailored cut 
- whether Country Lux, 
Extreme Lux or Business Lux. 
Each and every appointment 
is free of charge and has no 
minimum spend, meaning 
that whether you’re in for a 
complete three-piece 
measurement or just 
brushing up on those little 

(yet just as essential) pieces 
of detailing, Massimo Dutti 
will be ready to find your 
perfect fit. To book 
your personal tailoring 
appointment, call Massimo 
Dutti Regent Street on 020 
7851 1284, Kensington High 
Street on 020 7361 1840 or 
for Dublin, Grafton Street on 
003531673 0001 


Vorsprung durch Technik 

Introducing the new Audi Al. It hes LED, which stands for 
lights that shine brighter, for Langer^ And HDD Sat Nav, 
short for satetlite navigation with advanced 3D mapping. 
TechnoLogtes from across the Audi range, all available in the 
new Al. So when we say Al, what we really mean is Audi. 

HDD sat nav. 

Short for hard disk drive 
satellite navigation systenn. 


Short for Audi. 


Official fuel consumption figures for the Audi Al range (excluding SI), In mpg (l/lOOkm) from: Urban: 421 (6:7) - 6SJ (43), Extra Urban: 64.2 
(4.4)- 91.1 (3.1) and Combined: 54.3 (5.2) -80.7 (3-5). COa emissions: l68-S2g/km. Standard EU Test figures for comparative purposes and may 
not reflect real driving results. Optional wheels may affect emissions and fuel consumption figures. Features mentioned do not come as standard. 





The world’s hottest 
hyper hatch 

Vorsprung durch Technik 



Official fuel consumption figures for the all-new Audi RS 3 Sportback in mpg (l/lOOkm) from: Urban 24.8 (11.4) - 25,2 (11.2), 
for comparative purposes and may not reflect real driving results. Optional wheels may affect emissions and fuel consumption 

The all- new 

Audi RS 3 Sportback. 

Born restless. 

See what happens when you unleash 
an RS 3 Sportback. Search RS3. 

Extra Urban 43.5 (6.5) - 44.8 (6.3), Combined 34.0 (8.3) - 34.9 (8.1), CO 2 emissions 194- 189g/km. Standard EU test figures 
figures. Image for illustrative purposes only, includes optional extras. 


© With great power 
comes great 

So said Voltaire. Or was 
it Winston Churchill? Or 
possibly Spider-Man's 
uncle Ben. Anyway 
who ever said it, they 
were dead right. That's 
why GQ, in association 
with Audi, thought 
long and hard before 
coming up with our 
2015 Power List. 

From celebrating 
Power Players, Power 
Couples and Power 
Houses; advice on 
Power Dressing, where 
to head for a Power 
Lunch, and the models 
with the most Flower 
Power; right through 
to the Power Steering 
style of the Audi RS3, 
the moon buggy that 
runs on Solar Power, 
and Hollywood's 
ultimate Power Broker, 
we have curated the 
year's definitive 
Power Package. 

And while we hope 
you'll agree with the 
list we have chosen, if 
you don't perhaps you 
should take it up with 
the entry on our list 
considered the most 
dominant athlete of all 
time. Then you can ask 
yourself one question: 
do you really want to 
Fight The Power? 


Editor-In-Chief Dylan Jones 
Editor Paul Henderson 
Creative Director Paul Solomons 
Art Director Warren Jackson 
Chief Sub-Editor George Chesterton 
Picture Editor Ryan Grimley 
Managing Editor Mark Russell 
Contributors Charlie Burton, George 
Chesterton, Will Grice, Robert Johnston, 
Matt Jones, Stuart McGurk, Andy Morris 

WERE we to decide which badge matched a 
0-62mph time of 4.3 seconds, 362hp power 
output and a top speed of 174mph. we'd go 
Italian. An entry-level Lambo, perhaps, or one 
of the lazier Eerraris. But it's a little Audi 
hatchback. A sensible hve-door designed for 
things like luggage, families and residual values. 

Welcome to the hottest hatch on planet earth. 
All four of its fat wheels are fed by a 2. 5 -litre 
turbocharged hve-cylinder engine, seven-speed 
dual-clutch gearbox and permanent four-wheel 
drive. It sits an inch lower and a lot hrmer than 

the cooking A3, and the wheels have been 
pulled closer to each corner for stability. 

But for all of its 4WD tenacity and low, girded 
stance, it still feels oh-God-make-it-stop fast. The 
Quattro system forces every bit of horsepower 
on to the road; and now Audi's 4WD tech is less 
nose-led, its vastly improved balance through 
corners positively encourages you to hnd your 
limit. Which will surely arrive long before you 
reach the car's. After all, this is only a few 
design adjectives short of a supercar. Matt Jones 
The Audi RS3 starts from £39,955. 

Photographs Alex Howe; Camera Press/Figarophoto; Getty Images; Trunk Archive/Marc Horn; Vantage News; Rex 


"JUST living is not enough," 
wrote Hans Christian 
Andersen. "One must have 
sunshine, freedom and a little 
flower." And in the modelling 
world, a little flower goes 
an awful long way. Or, in 
this case, four little flowers, 
making up a beautiful 
bouquet of supermodel 
perfection. Which one 
would you pick? ph 



♦ Poppy, Daisy, Rosie 
and Lily... 

♦ Chelsea FC 

BACK in 2003, with 
billions of rubles 
burning a hole in 
his massive pocket, 
Roman Abramovich 
decided that what 
he really wanted 
more than anything 
else was a football 
team (not another 
superyacht). After 
making a few 
enquiries, it came 
down to a choice of 
two: Tottenham 
Hotspur or Chelsea. 

In the 12 years since, 
the Blues have won 
15 trophies (including 
four Premier League 
titles, four FA Cups 
and the Champions 
League), established 
themselves as one 
of the Super Six 
most vaiuabie clubs 
in world football, 
and become an 
famous uber-brand. 
They have also 
established lucrative 
deals with Adidas 
providing their kit 
(worth £300m). 

Yokohama Rubber 

sponsoring their 
shirts (worth 
£200m), plus official 
global partnerships 
with the likes of 
Hackett and Deita 
Air Lines. They are 
also odds-on 
favourites to reclaim 
the Premier League 
title this season. 
Spurs won the 
Carling Cup in 
2008. They are in 
no way bitter, ph 


(above, from left): 
Poppy Delevingne; 
Daisy Lowe; Rosie 
Lily Aldridge; (below 
left, from top) 
Chelsea’s Radamel 
Falcao; the Chelsea 
owner Roman 


♦ Tom Ford 

EVER since his days at Gucci, Tom Eord has understood that sex and power are 
inextricably linked and today he makes the ultimate suits to ensure the 
corporate warriors of Wall Street and the City are fully equipped to win their 
boardroom battles. To echo the slogan of a well-known vitamin supplement, 
when you are wearing a Tom Eord suit you look like you - but on a really good 
day The lapels are generous to help broaden your shoulders, the waist is 
tailored to disguise the result of all those power lunches in Scott's or Eour 
Seasons, and the legs are tailored to help give the impression that you are 
walking tall in the corporate jungle. Robert Johnston 


4 Muse 

MATT Bellamy's desire to have 
drones swarm Muse's live 
stadium shows may have been 
thwarted by the totalitarian 
forces of health and safety, but 
it's beyond doubt that Muse 
are masters of the power chord. 
It's not the only weapon in 
their arsenal - they're not The 
Darkness after all - but when 
the time comes the likes of 
"Hysteria", "Starlight" and 
"Plug In Baby" will have lost 
none of their potency. 

The trio's recent album is 
stuffed full of pulverising 
sucker punches: from "Revolt" 
to "The Handler", whether 
you're writing about the 
military-industrial complex or a 
messy break-up with the star of 
Almost Famous, only a blast of 
white hot metal will do. At their 
controversial Download Eestival 
performance this summer. Muse 
dug out "Dead Star" and B-side 
"Agitated", proving beyond 
doubt that a band who 
occasionally cover Nina Simone 
can still rock as hard as Rage 
Against The Machine. Andy Morris 

The rules of power dressing 

Manicure set by Aspinal Of London, 

£75. Pen by 
Montblanc, £690. montblanc.conn 

O Legend has it that 
the most successful 
men wear yellow 
ties - blue is too 
conservative, red 
spells danger. While 
casual is gaining 
ground, intimidate 
the underlings with 
a four-in-hand note 
that stays perfect all 
day. Go for gold with 
Hermes or Charvet. 

0 Ditch the laptop and 
take notes with a 
beautiful writing 
instrument from the 
likes of Montblanc or 
Caran d'Ache. Tech 
support may walk 
around with an open 
Mac, but then they 
work for you. 

O Bitten or over-long 
nails can be a deal 
breaker in any 
investment so even 
if it sounds unmanly, 
invest in a decent 
manicure. After eyes, 
hands are the most 
expressive feature so 
don’t draw attention 
to them for the 
wrong reasons. RJ 


■ i 



L 1 

1 ' T 

il — 





They invented sibling 
rivalry in rock - and Ray 
and Dave Davies also 
happened to come up 
with the blueprint for 
hard rock in 1964. 


Even if a generation 
knows it from CSI: Miami, 
a track that remains 
as vicious as a Pete 
Townshend put-down 
to Roger Daltrey. 


Inspired by deodorant 
and Kurt Cobain’s 
sarcastic ice-breaker at 
parties (“Here we are 
now/Entertain us”), 24 
years on it still ignites 
mosh pits. AM 


Photographs Jody Todd; Getty Images 

Photographs Rex; Splash Illustration Charlotte de Valmency 


Benedict Cumberbatch 
in Hamlet 

WHO else but Britain's thesp-in-chief to play Shakespeare's iconic 
Danish ditherer? And, when the tickets went on sale for this 12 -week 
run at the Barbican, it was probably also no shock that it became the 
most in-demand theatre production of all-time - within minutes of 
tickets going on sale, fans found themselves 30,000 places back in the 
queue. Such was the fervour for the Sherlock star treading the boards, 
it received double the web searches in the hours after tickets were 
released than for Beyonce and Jay Z's "On The Run" tour. 

So does it match the hype? Cumberbatch has stage pedigree - in 201 1 
he starred in Danny Boyle's Frankenstein at the National Theatre, 
winning the Olivier Award in the process - and the 39-year-old has said 
it's a role he's always longed to play. If you don't have tickets, don't 
despair: two weeks before the end of the run, on 15 October, it will be 
broadcast live to 550 cinemas in the UK and internationally. Finally, 
enough Cumberbatch to go around. Stuart McGurk 
Hamlet at The Barbican runs until 31 October 2015. 


(above) has said 
that the role of 
Hamlet is one that 
he’s longed to play; 
(top) the play’s 
poster artwork 


15 Central Park West 

many buildings are 
so powerful, they 
have an entire book 
written about them? 
Only one: 15 Central 
Park West in New 
York, which crams 
in Russian oligarchs 
alongside Hollywood 
A-listers, Wall 
Street moguls, and 
everyone in-between. 
Denzel Washington 
(above) got in early, 
bagging an apartment 
for $13 million - a 
bargain, as most now 
go for $50m-plus. 

Be it Robert De Niro 

(renting for $125,000 
a month), baseball 
star Aiex Rodriguez 
(a meagre $30,000 a 
month) or Goldman 
Sachs CEO Lioyd 
Blankfein, who 
arrives with a posse 
of security staff, and 
it’s clear why this 
building, erected 
in 2008 but aping 
art-deco, not only 
has its own cinema 
and library, but the 
staff are said to 
earn $22,000 in tips 
alone in the holidays: 
power house, power 
tippers. SM 


House Of Cards 

Season 4 is expected next spring on Netflix 

NETFLIX’S political thriller House Of Cards 
ended last season with a bombshell: just 
as Kevin Spacey’s Frank Underwood was 
about to kick his re-election campaign 
into gear, his wife, Claire (Robin Wright), 
left him. For Underwood, it was like the 
devil being deprived of his pitchfork. And 
fire. And horns. Will he survive without 
her for the upcoming season? Rumour 
has it that Neve Campbell is set to join 
the cast, appearing as one half of a new 
young political power couple. Yes, we 
know there will be more complex political 
manoeuvring - but also: fight! SM 



The Audi RS6; 
RSQ3; RS7; RS4 
Avant (red and 
yellow); RS2 Avant; 

Sport Quattro; 

\ andRS3 / 

The first 
Audi RS broke 
the German 
to limit top 

. 3 ^ 





O AUDIS were never supg^eij'to be 
sexy. When the compari^ hrst came 
to be as we know it - four rings 
on the front, built in Ingolstadt, owned by 
Volkswagen - it was the late Sixties and 
post-war prosperity was about to slump 
into Seventies austerity West Germany 
would fall into recession. Engines would be 
throttled by the Middle East oil crisis. And 
the cars - sensible, rugged and with luxuries 
such as passenger-door mirrors consigned to 
the options list - sold as durables, not as 
clever, hnessed, treat-yourself things. 

But eventually, come the end of the 
decade, economies tipped into the black and 
oil began to flow, so Audi decided to shrug 
off its careful-now image and start having 
some fun. It embarked on a project tor@ 



The RS range at 
the birthplace of 
British motorsport, 
Sheisley Walsh in 
this June 


@ which it owes its fortune - embracing 
the virtues of four-wheel drive. 

The idea to power all wheels was 
suggested by chassis engineer Jorg 
Bensinger, who had spent a late-Seventies 
Finnish winter testing a truck-like 
off-road vehicle called the Volkswagen litis, 
developed for the West German military and 
forestry service. After successfully pitching 
the idea, then unsuccessfully building 
prototypes from the VW parts bin, then 
using the cleverest of thoughts to create 
a completely new four-wheel-drive system, 
Audi put it to market. And just because 
they could, htted a digital dashboard and 
2.1-litre, turbocharged engine. 

The hrst vehicle to wear the Quattro badge 
wasn't just fast for its day - it's fast for 
today, and will remain so for many more. 

The hve-cylinder engine makes 197bhp, 
2101b ft of torque and travels from 0-62mph 
in 7.1 seconds. Enough to see off a sizable 
chunk of the wheeled world. Come 
1984 and in the hands of rally driver 
Stig Blomqvist, the 349bhp A2 

competition version dominated the World 
Rally Championship. Up against Nissans, 
Toyotas, Opels and Peugeots, it was a 
genuinely brand-new machine - and they 
don't come along all that often in the world 
of cars. In 1985, it won the savage Pikes 
Peak International Hill Climb with Michele 
Mouton behind the wheel (the hrst female 
driver to win a world championship rally), 
setting a new world record in the process. 

Riding on its early competition success, 
Audi honed the Quattro to an even hner 
point, creating the gallantly vicious, 
uncompromisingly psychopathic Sport 
Quattro SI E2 in 1985. It was built for the 
essentially unlimited Group B class. The 
short- wheelbase Sport Quattro SI wasn't 
quite as all-conquering as its 
predecessors (everyone else 
quickly cottoned on to the 
merits of 4WD), but its 

unbridled power (more than 450bhp and 
3.1 -second 0-62mph sprint time) carved it 
into the masonry of rallying history. 

Several high-prohle fatalities called time 
on Group B and in many ways contributed 
to the super-high-performance Quattro 's 
hiatus. The four-wheel drive system 
continued to be hne-tuned through to 
the early Nineties, but it wasn't until 
1994 that a proper brace-yourself model 
arrived. It was called the RS2 Avant and 
was created with Porsche. But the company 
wasn't just on the scene in an advisory 
capacity - the unlikely estate car, which 
was the hrst to wear the RS badge (stands 
for rennsport, German for "racing sport"), 
actually used Porsche componentry too. 

As well as the 993 -gen 911's indicators, 
fog lights, wheels and exterior mirrors, 
it also got Porsche-designed brakes and 
suspension. Which was just as well, because 
the 2.2-litre, hve-cylinder engine produces 
311bhp and, hooked up to its six-speed 
manual gearbox, spits it from 
0-62mph in 5.4 seconds, up to a top 
speed of 163mph. Which, at the 
time, broke the German industry's 
voluntary agreement to limit top 
speeds to 155mph, though the 
agreement didn't apply to Porsche, 

so the RS2 just about had a case that the 
2,891 built should also be exempt. Just... 

Its success was rampant and, by the time 
its successor arrived six years later, Audi 
doubled production volumes. The "B5" 

Audi RS4 Avant (another estate) was 
even more potent, and came htted with a 
weapons-grade Cosworth-tuned 2.7-Iitre 
V6 twin-turbocharged engine, which made 
a wholly unnecessary 382bhp, despatching 
62mph in 4.9 seconds. 

What made this such a landmark model 
was that Audi had severed ties with Porsche 
and, save for some advice from Cosworth, 
had created something on its own that 
maintained the amphetamenic upkeep of 
standards that made its predecessor such 
an abiding companion. Buoyed by the 
conhdence of runaway sales, the RS 
hourished as a BMW M and Mercedes 
AMG-rivalling entity. Today, it employs 
830 people dedicated to plumbing more than 
15,000 Audis - from the A3 to R8 supercar 
- with more speed, as well as overseeing the 
Audi Sport customer-racing programme and 
developing bespoke customisation features 
through the "Audi Exclusive" department. In 
doing so, Quattro GmBH has created some 
truly sexy cars, regardless of whether or 
not they were intended to be. 

The first vehicle to wear the Quattro 
badge wasn't just fast for its day - 
it's fast for today' 


Mondrian London, 20 Upper Ground, London SEI. 

020 3747 1000, 

IF you wanted a 
reason to recommend 
the Dandelyan, you 
could go with the 
stunning Tom Dixon 
design: sumptuous 
seating, leather 
banquettes, green 
marble bar. Or the 
riverside location, 
with its huge floor- 
and views of the 
Thames. But the best 
endorsement is the 
cocktails, designed 
by the award- 

winning master 
mixologist Ryan 
Chetiyawardana, aka 

Mr Lyan. This summer 
he introduced a new 
drinks menu, adding 
botanical flavour 
profiles of pine, birch 
and oak to classic 
cocktails, including 
(above, from left) 
a Heartwood Old- 
Fashioned and a 
Peach in a Pine Cone. 
Whatever your taste, 
they have the perfect 
drink for you. ph 


Stream conference 

stream 2015 runs from 15 to 18 October. 

IF information is 
power, the WPP 
Stream event is a 

Biiderberg for the 

digital age. Organised 

by Sir Martin Sorreii 

(below), it’s not 
exactly slebby, but 
that’s the point. 

The three-day 

“unconference” (their 
term) in Greece is for 

those shaping the 
world of tomorrow: 
tech titans, innovators 
and pathfinders from 
the likes of Googie, 
Microsoft and 
Spotify. The luxury 
brands and drinks 
corporations arrive in 
their droves to learn 
what they can. 

Charlie Burton 


Photographs Buck Wise; Rex 


IN Hollywood terms, he is quite simply the highest-grossing actor of all time. At 66, cinema's 
baddest mutha has popped up in more than 100 movies, including the Star Wars franchise. The 
Avengers and pretty much everything Quentin Tarantino has ever done, and he always gets the 
best lines and steals the show But Jackson's power base doesn't stop there. He's politically active 
(he was one of the ushers at Martin Luther King's funeral and campaigned for Barack Obama in 
2008), has more than hve million followers on Twitter and supports several charities. Currently, 
he is the chairman of cancer-awareness organisation One For The Boys, using his considerable 
charm to recruit Princes William and Harry (among many others) to the cause. And what's more, 
he is pretty good at golf and is something of a fashion icon. How did he do it? According to the 
man himself it was pretty simple: "The best advice given to me was that I had to be ten times 
smarter, braver and more polite just to be equal. So that's what I did." PH 

♦ Samuel L Jackson 

The Ivy 

1-5 West street, London WC2. 
020 7836 4751, 

FOR a while there, 
the Ivy really was 
looking like the 
last-chance saloon. 
Although it ended the 
20th century as the 
definitive pap-tastic 
A-list-haunted house, 
the new millennium 
brought with it a host 
of hot-spot rivals 
desperate to knock 
the grand old dame 
of West Street off 
her celebrity perch. 
The Wolseley, Cut, 
Dinner by Heston 
Blumenthal, Berners 
Tavern and Chiltern 
Firehouse all made 
a claim to the throne 
as the Ivy, nearing 
its 100th birthday, 
closed its doors at the 
beginning of 2015 for 
a six-month refurb for 
what was considered 
a last roll of the dice. 
Having seen the 
results of Martin 
Brudnizki’s redesign, 
all we can say is that 
reports of the venue’s 
death have been 
greatly exaggerated. 
A stunning central 

bar takes pride of 
place as you enter, 
new art works by 
Damien Hirst, 

Maggi Hambiing 
and ian Davenport 
hang on the back 
wall and the social 
dead zone of tables 
in “Siberia” have been 
given a new lease of 
life. Executive chef 
Gary Lee has updated 
the menu, leaving 
in the classics but 
adding some exciting 
dishes and a few 
healthy alternatives. 
This is, though, still 
proudly and resolutely 
The Ivy. Service 
remains impeccabie, 
the stained-glass 
windows still protect 
the stars from prying 
eyes, and even the 
starriest of guests 
continue to get that 
frisson of excitement 
when they walk in. 

As the saying goes: 
fashions fade, but 
style really is eternal. 
Good luck getting 
a table, ph 

A new leaf: The Ivy reopened in June, 
just in time for its 100th birthday 

For more information, visit 


Official fuel consumption figures for the TT Coup^ in mpg (l/lOOkm) from; Urban 33.2 (8.5) - 54.3 (5.2), Extra 
figures for comparative purposes and may not refiect real driving results. Optional wheels may affect emissions and 


Vorsprung durch Technik 

Urban 50.4 (5.6) - 70.6 (4.0), Combined 43.5 (6.5) - 62.8 (4.5), CO 2 emissions 153 - 116 g/km. Standard EU test 
fuel consumption figures. For more information please visit 





KALE, schmale. This year's 
superfood is a wonder-fruit from 
Malawi that grows on what locals 
call "the tree of life". It contains 
more vitamin C than oranges, more 
antioxidants than blueberries, 
double the calcium of milk and 
more potassium than bananas. It 
dries naturally, and its powdered 
form is easy to add to everything. 
What are you waiting for? ph 
For more information on baobab 

Baobab green eggs 
smoothie by 
Hemsley + Hemsley 


(Serves 1) 

• 25g ground 

• 2 organic, free- 
range egg yolks 

• 1 tbsp of 
raw honey 

• 200ml filtered 

• 1 tsp of vanilla 

• Pinch of nutmeg 
and cinnamon 
to taste 

• 1 sachet baobab 
powder (4.5g) 

• Optional: 

2 handfuls of 
baby spinach/ 
lettuce, a 
small banana 


• Add all the 
to a blender/ 
food processor 
and blend 
until smooth. 

• For the “green 
eggs” effect, 
throw in the 
spinach and 
blend again. 

From The Art Of Eating Well by Jasmine 
and Melissa Hemsley (£25, Ebury) out now. 

4 Ronda Rousey 

RECENTLY named “the 
most dominant athlete 
alive”, undefeated MMA 
(mixed martial arts) 
competitor Ronda Rousey 
is the greatest female 
fighter in the world. The 
28-year-old from California 
(who won an Olympic 
bronze medal in judo in 
2008) is on track for total 
domination, having 
appeared on the cover of 
Sports Illustrated (and 
uncovered in the Swimsuit 
Edition), written a 
bestselling autobiography 
(My Fight, Your Fight) and 
appeared in Hollywood 
movies (The Expendables 
3, Fast & Furious 7 and 
Entourage). She is smart, 
beautiful, sexy and highly 
marketable (UFC president 
Dana White says she is 
already making millions 
from sponsorship), but how 
does she see herself? 

“Right now,” she told 
Roiling Stone magazine 
recently, “I’m the baddest 
chick on the planet.” ph 



Photographs © 2014 Warner Bros Entertainnnent Inc; August/Brian Bowen Smith; Moviestore/Alamy; Rex 


4 Call Of Duty: Black Ops III 

Out on 6 November. 

TO dismiss each new 
Call Of Duty title as 
simply more of the same 
is to miss a key detail: 
different sub -franchises 
are looked after by different 
games developers, and 
some of those developers 
are more exciting than 
others. The Black Ops 
offshoot, for instance, 
is looked after by Treyarch 
who are considered 
maestros when it comes 
to playability That's why 
there's so much buzz 
around the third Black 
Ops instalment, which 
will be set in a dystopian 
vision of 2065. Expect 
supersoldiers, battleheld 
robots and a temporary 
halt to your social life. CB 

IN the automotive space race, Audi is currently 
on the front row of the starting grid. The 
carmaker is assisting a team of German scientists 
by providing an unmanned moon rover as part 
of the “Google Lunar XPrize” competition. 
Powered by solar panels and a lithium-ion battery, 
the four-wheel drive Audi Lunar Quattro has 
already been tested in Tenerife and, if things 
go well, will be launched into space in 2017. 

It only has a top speed of 3.6kmph, but that 
should be plenty because where they are going, 
they don’t have roads... ph 




Car wars declared 

May, Richard 
Hammond and 
producer Andy 
Wilman, Jeremy 
Clarkson created the 
cult that was Top Gear. 
A televisual institution, 
together their 
automotive high-jinx 
attracted 350 million 
viewers worldwide, 
generating around 
£50m for the BBC 
every year. However, 
after being sacked in 
March for assaulting 
a member of his 
production team, 
Clarkson and co have 
been plotting their 
return and last month 
they finally confirmed 
that they would be 

back next year, with 
a show on Amazon 
Prime. Expect even 
more fogey-fied 
chaos, casual racism, 
liberal use of the 
phrase “oh cock” 
and for it to kick the 
Chris Evans version 
of Top Gear right 
in the gentlemen’s 
vegetables, ph 



Daley Fitness 

From £90 per month. Daley Fitness, 215 Upper Richmond Road, 
London SW15. 020 3818 5000. 

THE main hope for Star Wars VII: The Force Awakens is not that it will be as good as the 
original trilogy, but that it won't be as bad as the prequels. But even for Star Wars fans who 
got burned by The Phantom Menace, the new him shows signs of serious promise. Director JJ 
Abrams' guiding hand means there has been less input from George Lucas, who - although a 
visionary - is held responsible by the die-hards for the mess of Episodes /, II and III. The trail- 
ers already suggest that they got one thing right that the prequels got so wrong: making this 
galaxy, far, far away look "real", so we can expect something more gritty and empathetic. 

Another positive is a promising cast with John Boyega, Daisy Ridley and Adam Driver 
looking to inject some freshness to the franchise. But the single most obvious cause of excite- 
ment is the return of the original actors. Millions of nerds, sorry fans, around the world had 
goose bumps when they heard Harrison Ford utter the line: "Chewie, we're home." Let's hope 
that's just a taste of the thrills to come. GC 
star Wars: Episode VII is reieased on 18 December 2015. 



IF you speak German, you’ll already know 
the name of the world’s largest waterslide in 
Kansas City. If you don’t know any German, 
it doesn’t really matter because, as you can 
see, this ride is 168ft tall, making it higher than 
Niagara Falls. Guests are required to take a 
safety briefing before being strapped in, and 
each raft will hit a top speed of 65mph. So yes, 
“insane” just about covers it. PH 

AS the world’s most 
successful decathlete, 
champion Daley 
Thompson knows a 
thing or two about 

In his new Putney 
gym, you will find 
a towering glass 
complex on the 
ground floor, filled 
with work-out rooms, 
while on the lower 
ground, there are 60 
cardio machines, free 
weights and weight 
machines. But what 
sets the gym apart 
is that each visitor 
is given a heart-rate 
monitor, allowing 
you to track your 
statistics on a screen. 

Despite the high- 
tech kit, one of the 
areas attracting most 
interest is the Old 
School Gym. “The 
wooden decking, 
climbing ropes and 

wall bars make it feel 
like the old sports 
hall you probably 
used - and dreaded 
- at school,” says 
Thompson. “What’s 
great is when we 
have someone who 
comes in who wasn’t 
good at sport as a kid 
but finds a real level 
of achievement when 
they find they can 
climb a rope. They 
get a great workout 
and a confidence 
boost, too.” WG 


Photographs Buck Wise; Getty Images; PA; Rex 





The Duke and 
Duchess of 

TO understand the clout of Will 
and Kate, consider this: their 
unborn child was held responsible 
for swinging a national vote. The 
announcement of Kate’s pregnancy 
fell ten days before the referendum 
on Scottish independence. “Will 
a new royal baby save the union?” 
wondered the Guardian. The result 
suggests Charlotte did. Then there 
was the birth, days ahead of an 
election that, against predictions, 
delivered a Tory government. 

Not bad for a five-day-old. CB 

# Battersea 

BACK when, 
Londoners considered 
Battersea Power 
Station a blight on 
the landscape. What 
a difference Pink 
Floyd makes. After 
the band’s 1977 album 
Animals featured 
it on the cover, the 
structure became a 
pop icon; when the 
plant was switched 
off six years later, it 
was conserved as a 
national treasure. 

Hardly surprising, 
then, that so many 
brands are set to 
move in as part of its 
£8bn redevelopment, 
turning its high street 
(Electric Boulevard) 
into a shopping 
destination. But the 
revamped power- 

station site won’t only 
be about established 
players - a 30,000- 
sq-ft fashion hub 
will showcase the 
best of the country’s 
graduate talent. 

Nor will it cater 
merely to consumers: 
there will also be 
an array of luxury 
properties, which 
are so desirable that 
they have created 
a micro housing 
boom where the price 
tag for a four-bed 
can reach £4m. 

Then again, with 
buildings designed 
by Frank Gehry 
and Norman Foster, 
they may be worth 
every penny. As an 
investment, they 
should be. CB 

Boom, shake the room: Battersea Power Station 
has become its own separate property market 



^ R8 BioCat 


He’s got his finger on 
the nuclear football, 
yet she still calls the 
shots at home. 


Love or loathe them, 
50 million followers 
on social media is 
undeniable influence. 

Music’s first couple is 
so tight with the White 
House that Jay gets 
texts from Obama. 


When the star of the 
bar tied the knot with 
the king of Hollywood 
their net worth clocked 
in at £121m. 


They’ve shown how to 
parlay fame into bona 
fide second careers - 
though so far nobody 
has matched them. 

INSPIRED by sports-car styling, Swedish 3-D company Zolland 
Design created this futuristic, gull-winged catamaran concept. 
Theoretically powered by a biodiesel VI 0 engine and measuring 
8.8 metres, according to Zolland, it could hit around 95 knots. 
Although it hasn't been built yet, the designs have been bought 
by powerboat builders Danalevi, so watch this space... PH 
For more information, visit 



while never 
stooping to 
ben for it' 


© It's a Hollywood cliche to talk about such souped-up buzz words 
as "star power" or what, if anything, constitutes a leading man 
these days. Yet it's fair to say that, in judging both, if an actor 
can carry two blockbusters on their back while muzzled like a rabid 
hound and having about six lines of dialogue in total, they've probably 
got it and they probably are one. From 201 2's The Dark Knight Rises (as 
villain Bane) to this year's tectonic smash Mad Max: Fury Road (as the 
similarly mute and muffled title character), the 37-year-old Brit became 
that rare thing: the movie star you never saw coming. 

What other actor, for instance, could have carried something like 
Locke, a him that consisted entirely of nothing but talking: just Hardy 
in his car, on the phone? It wasn't so much a movie as an actor's suicide 

note. Yet in Hardy's hands - intense, gripping, effortlessly magnetic, 
demanding your attention while never stooping to beg for it - it became 
a calling card. 

Next up, having conquered both talking and not-talking. Hardy is set 
to show off by playing both Kray twins in LA Confidential writer Brian 
Helgeland's gangster biopic Legend, making him the only actor who can 
give himself the silent treatment or talk over himself. Then, next year, 
the ultimate tester of leading-man status: top billing opposite Leonardo 
DiCaprio in period drama The Revenant, from the Oscar- winning director 
of Birdman, Alejandro Gonzalez Ihtoitu. If you can hold your own 
against a man for whom a Victoria's Secret afterparty is a quiet night in, 
you know you've got it. SM @ 


Photograph by Oleg Nikishin 

Photograph Getty Images 


Vorsprung durch Technik 

See the whole drama unfold. 
Test drive the all-new 
Audi TT Roadster. 

It's not just features Uks the electric hood that opens 
or doses rn 10 seconds. Nor the Audi Virtual CocJtpit 
and optionat Super Sports seats with head level heating. 

In fact, there's a whole sky full of reasons to experience 
the sheer drama of open-top driving - on a test drive m 
the all-new Audi TT Roadster. 

See more with the Audi Vision app. Download it from the App Store or Google Play, and scan this page. 

Official fuel consumption figures for the aU-new Audi TT and TTS Roadster range in mpg {1/ 100km) from: Urban 29.7 (9.5)- 55.4 (5.1), Extra Urban 
44.8 (6.3) - 72.4 (3.9), Combined 37.7 (7.S) - 65.7 (4.3). COi emissions: 174 - 114g/km. Standard EU Test figures for comparative purposes and 
^ may not reflect real driving results. Image is for illustrative purposes only. 



See also 

Best Lifestyle/Leisure News Site 2015 

Photograph Cameron Krone/Contour/Getty Images 

Clara Amfo hosts a month-long series of live performances by suth stars as Ellie Goulding 
{pictured) FKA Twigs, The Libertines, Disclosure with Sam Smith)| Rudimental and 
Chyrches, all of whom will be performing two songs (one their own, the other a 
coiinter-intuitive cover), with special six-track selections from Muse and Florence & 

The Machine (11 and 28 September respectively). Your autumn playlist starts here... 



GQ will be producing 
a behind-the-scenes 
video featuring 
selected artists at the 
Live Lounge, which 
you can see on 

dio 1’s Live Lounge month 

yon the best 
Mnsic, Fiim, 
Poiitics, Sport, 
TV and Art 
in the month 


starry guys: 
Ellie Goulding has 
signed up for the new 
season of Radio Vs Live 

Lounge alongside Sam 
Smith, The Libertines 
and FKA Twigs 

Frame of mind: 
Sculpture of 
Franzen by 
Sharon & Joel 
Harris, 2011 

Waze and means 


i Franzen trips over his big idea 

• In Purity, plot-coupon characters risk being all too extraordinary 



T raditionally, Jonathan Franzen writes in 
a darkened room, blindfolded, with 
noise-cancelling earphones on, so he can 
"close in on himself", as he told GQ in 2012. 

The "closing in" has always been important: 
his breakout masterpiece. The Corrections 
(2001), and even better follow-up. Freedom 
(2010), were about families in the Midwest. 
He had written a call to arms in a 1996 essay 
that decried the meta-ironic works that had 
become the norm in serious literature - books 
so stuffed with ideas they had lost all human- 
ity. (It's no coincidence that his friend David 
Foster Wallace's Ulyssean Infinite Jest was 
published that year. New Yorker critic James 
Wood later termed it "hysterical realism".) 

Franzen suggested a third way - a novel still 
crammed with ideas, but which focused on 
the people. The Corrections and Freedom were 
postmodern works in 19th-century social- 
realist clothing, touching on everything from 
the US pharmaceutical industry to overpopu- 
lation, but via everyday people and nuclear 
families. Both charted the riptide pull of con- 
nection and the erosion of years past. 

Franzen discovered something about 
himself, too: he's a smart ideas man, but an 
unsurpassed sketcher 
of character, that deli- 
cate art of building a 
statue with a million 
matchsticks. Patty in 
Freedom - difficult, 
contradictory, unlike- 
able yet utterly grip- 
ping - stands as one 
of literature's truly 
great achievements. 
In Purity, out now. 

he's ditched the Midwestern family crutch, 
and in comes the very thing he had fled from: 
characters who appear to be ciphers. Purity 
deals in secrets and power: how knowledge 
binds and destroys. It centres around Andreas 
Wolf, a proxy Julian Assange, who runs The 
Sunlight Project, a WikiLeaks with a 
conscience. Into his orbit comes Pip Tyler, a 
young graduate saddled with debt and doubt. 

In previous Franzen works, the extraordi- 
nariness of the themes were perfectly paired 
with the ordinariness of the people. Purity, 
however, is stuffed with Pulitzer Prize- 
winning journalists, tortured novelists, genius 
hackers and tormented video artists. It's no 
catastrophe, but it is a misstep. Each character 
feels too dehned by what they do and all too 
often are sides to an argument. Journalist 
Leila is particularly well drawn, but Wolf feels 
more homily than human. 

When the Guardian asked Franzen in 2010 
for his rules for hction, one was, "You see 
more sitting still than chasing after." He later 
told GQ he meant this one most: don't head- 
line chase, chart what's really important: the 
tectonic movement of human lives; the rifts 
dehned by time. It's only in the book's hnal 
third, when he obeys this rule, that it really 
comes alive, when he delves further in the 
past, characters no longer slaves to ideas. No 
one is better than Franzen at showing small 
lives are never small to those who live them. 

The rest here looks right, but feels off. The 
concerns are so big that human lives shrink 
in the face of them; puppets on perfectly 
pulled strings, with little gravity pulling them 
to the ground. 

Purity by Jonathan Franzen (Fourth Estate, 
£20) is out now. 

T he moment 
I climb into an 
Uber, I wince. I know 
that the next thing 
I say to the driver 
- the same thing I’ve 
said to every driver 
I’ve had this past six 
months - will almost 
certainly make him 
dislike me. “If it’s all 
the same to you,” 

I’ll begin as I click 
my seat belt, “I’m 
actually going to 
give you directions 
from back here.” I’ll 
get a death stare in 
the rear-view mirror, 
but it’s worth it. See, 

I use a navigation 
app called Waze and 
it can slice journey 
times in half. 

Think of Waze 
as a Wikipedia 
for the road. 
Established by Noam 
Bardin in 2009, and 
sold to Google in 
2013, it now has a 
50-million strong 
community of 
drivers (or “Wazers”) 
that provides 
real-time updates 
about roadworks, 
accidents and 
traffic jams. The 
free app, which 
works with all types 
of phone, combines 
this fluctuating, 
crowd-sourced data 
set with information 
about other users’ 
speeds and routes 
to calculate the 
most time-efficient 
way of getting you 
from A to B. 

Even for those 
who know a 
place well, the 
directions can seem 
perhaps taking 
you off main arteries 
to muddle through 
side streets. It’s so 
effective, however, 
that it’s re-boring 
car-clogged cities 
such as Los Angeles. 
“Recently I had a 
busy week in LA,” 
recalls photographer 
James Dimmock. 

“My agent had 
booked me 22 
meetings in four 
days, all across the 
city, with clients you 
don’t want to be late 
for. I was on time 
for all 22 meetings, 
something that was 
unheard of in LA 
before Waze.” 

In fact, the 
new popularity 
of formerly secret 
shortcuts has turned 
once quiet roads into 
busy thoroughfares. 
In response, some 
residents in Beverly 
Hills are rumoured 
to be posting fake 
Waze alerts in an 
attempt to deter 
the flow of cars. 

After back-seat 
driving my Uber 
all the way to its 
destination, the man 
at the wheel usually 
wants to “have a 
word”. Typically, 
it’s: “What did you 
say that app was 
called again?” 

Charlie Burton 

220 GQ OCTOBER 2015 

Photographs Sharon & Joel Harris/Articulate Graphic 

Photographs Rex; Nick Wilson 


The bittersweet romance of reunions 

When groups reform, the resulting psychodramas can sometimes be a catalyst for greatness 


■ sometimes think that bands are soap operas for men who don't watch soap operas. How else 
can you explain the consistent popularity of unfounded "news" stories about the potential 
reunion of Oasis or The Smiths. It's not just about the music. It's a deep emotional attachment to 
the idea of a band as a lifelong bond, however strong the evidence to the contrary. 

That's why reunions are inherently moving before a single note's been played. Men in particu- 
lar, notoriously bad at maintaining friendships and addressing difficult emotions, see in a 
reconstituted band the manifestation of their own hopes that bridges can be rebuilt and wounds 
healed. When I saw The Stone Roses play a few years ago, I felt 
involved in a communal psychodrama about friendship, forgiveness 
and the passing of time. 

The Libertines have always mythologised their turbulent relation- 
ship in the songs themselves. When I met Pete Doherty and Carl 
Barat in 2003, they were an inspiring double act: blood brothers, 
partners in crime and platonic lovers. Eighteen months later, they 
were enacting their friendship's death throes on their hnest song, 
"Can't Stand Me Now", a frazzled back-and-forth that was desper- 
ate, bitter and hopeful all at once. In real life, hope lost. 

When The Libertines came back, hrst in 
2010 and more emphatically last year, 
their status as the band of a generation 
was bigger than they were. Ramshackle 
underdogs promoted in absentia to a major 
live draw, they look a little lost and 
malnourished on a massive stage. Their scrappy songs, hatched in 
bedsits and dive bars, shrink in the spotlight while their on-stage chem- 
istry becomes a showbiz ritual, leaning too hard on nostalgia. 

No band's mythology can survive a reunion album unscathed but 
that's good - The Libertines have coasted on their past for long enough. 

Some fans may feel that recording Anthems For Doomed Youth (Virgin 
EMI) in Thailand with Jake Gosling, producer of Ed Sheeran and One 
Direction, is utter heresy, and it's true their beefed-up sound is some- 
times too on-the-nose, but they could hardly re-create their old 
cat-hght-in-a-dustbin sound. They need to hll the space they now 
inhabit so it's no bad thing that these conhdent, impactful songs don't 
sound like they're falling down the stairs. 

Eortunately their eccentricity survives. Doherty's voice is so smudgy 
and wayward that he could be produced by Nile Rodgers and still not 
sound slick, and his and Barat's lyrics retain their battered island poetry, 
with allusions to Tony Hancock, Rudyard Kipling and Graham Greene, 
and the title track's profoundly English question, "Was it Cromwell or 
Orwell who first led you to the stairwell?" The title, pinched from Wilfred 
Owen, suits both The Libertines' obsession with military analogies {"Like 
soldiers responding to the call/To Camden we will crawl") and their 
affinity with frailty and defeat. Even when they were young, they were 
never bullish. They sang about "the good ship Albion" on the under- 
standing it was headed for the rocks. To them, all romance is doomed. 

It's romantic because it's doomed. 

The Libertines' fatalism is doubly poignant now that they're past their 
mid-thirties. Take "You're My Waterloo", Doherty's tormented love 
letter to Barat, or the title track's mock-heroic retelling of their rickety 
alliance: "Yes, we thought that they were hrothers/Then they half- 
murdered each Other/Then they did a karaoke turn and murdered half 
their songs." The album's concessions to the present pay off more often 
than not. Hopefully, their karaoke years end here. 

I 've always preferred the exuberant mess of New Order to the solemn 
precision of Joy Division. It's fabulously improbable that a great band 
could survive the loss of their irreplaceable singer, Ian Curtis, and mutate 
into another great band with a more extroverted, pleasure-seeking 

“Good night, and 
thank you!” 

The top five 
of 2015* 



56 shows/49 cities 



42 shows/14 cities 



26 shows/20 cities 



46 shows /42 cities 



46 shows/45 cities 

*Based on ticket receipts up 
to 30 June, as published 
by Pollster 

a deep 
to the idea of 
a band as a 
lifelong bond 

Off the Hook (from left): 
New Order’s Tom Chapman, 
Gillian Gilbert, Bernard 
Sumner, Stephen Morris 
and Phil Cunningham 

agenda, capable of grace but comfortable with 
imperfection. In a more tragicomic twist, Peter 
Hook quit in 2007 and still hasn't forgiven the 
band for carrying on without him, avenging 
himself by touring their back catalogue with 
his own band. The Light. Perhaps the tight 
security surrounding Music Complete (Mute), 
New Order's hrst album of new material in a 
decade, is down to fear that Hooky might hear 
it and perform the whole thing before they did. 

Doubtless Hook won't accept that this is 
New Order's best album since their 1989 mas- 
terpiece, Technigue, but it is. The return of 
keyboard-player Gillian Gilbert led fans to 
expect a more electronic album, but not one 
as relentlessly vivid and dynamic as this. 
"Restless" proves straight out of the gate that 
they can still pull off their classic sound: a 
shimmering, melancholic elision of rock and 
dance music, with Hook's replacement, Tom 
Chapman, re-creating his characteristically 
high, melodic bass lines. But it's only one 
havour on a panoramic album that draws all of 
the band's threads together. 

If the lavish, affecting "Nothing But A Pool" 
recalls Technigue's emotional highs and the 
bass line on "Singularity" is pure Joy Division, 
then the joyously daft "Tutti Prutti" and 
"People On The High Line" remind you that 
this is also the band who made the rave foot- 
ball anthem "World In Motion". Assisted by 
the likes of Chemical Brother Tom Rowlands, 
several sleek, pulsating dance tracks allude to 
Giorgio Moroder, Chic and Italian house music, 
while Iggy Pop, Brandon Plowers and La 
Roux's Elly Jackson add to the bustling, 
celebratory atmosphere. 

A ten-year gap and a rancourous exit didn't 
bode well, but Music Complete is this month's 
second pleasant surprise. It occupies that small 
category of comebacks where the music really 
is more engaging than the back story. ® 

OCTOBER 2015 GQ 221 

: David Adjaye is 
i a famous black 
: architect. There 
: are no other 
: famous biack 
: architects at aii. 
; Not one. 

That makes him a bit special. It helps 
that he is also a natural-born star... 


C harming, with an easy manner, a 
ready smile and an ability to talk 
DESIGN to anyone in a language they can 
understand, David Adjaye has always 
looked like he was destined for big 
things. And now, at the age of 48, he 
has arrived. Big time. With a former-model/business- 
consultant wife, apartments in London and New York 
and a string of movie- and fashion-industry and art- 
world friends, Adjaye is now also the architect of the 
building that will dehne the black experience like no 
other. The Smithsonian's National Museum Of African 
American History & Culture is the hnal major museum 
on Washington DC's Mall, the long-missing piece in a 
puzzle which has somehow managed to 
omit the black experience. Clad in 
bronze (poetically destined to get darker 
as it patinates), the delicately hligree- 
pierced metal is inspired by a Yoruba 
artefact. It looks like a crown to anoint 
the white-stone Mall with a social con- 
science and to conhrm Adjaye as global 
architecture's new star. He has also re- 
cently released the blocky solid designs 
for Harlem's Studio Museum, which is 
dedicated to African American art. 

Adj aye's rapid rise is a model of how 
to cut through the conventions of a very 
white profession. Kicking off his career 
in boom-time Nineties London, Adj aye's 
buildings became a kind of cult: discreetly cool clubs, 
mysterious interiors and impossibly photogenic celeb- 
rity pads. Radical and experimental houses for Ewan 
McGregor, fashion designer Roksanda Ilincic, pho- 
tographer Jurgen Teller and artists Tim Noble, Sue 
Webster and Chris Ohli proved visually striking and, 
occasionally, controversial. Controversial because they 
looked so different to anything else. And because, 
occasionally, they leaked - as all the greatest houses 
do. Frank Lloyd Wright's houses used to be rated by 
the number of buckets they needed to catch the drips. 

In private, Adjaye admits he felt uncomfortable 
being portrayed as the architect to London's glitterati 
and that his ambition was to realise buildings with 

more social purpose. His opportunity came with the 
"Idea Stores", libraries and learning centres for some 
of east London's poorest neighbourhoods. Like the 
art-world houses, these buildings blended handsome 
looks and the occasional failure (the Whitechapel 
building is dehned by a Pompidou Centre-influenced 
escalator which has never worked since it opened a 
decade ago). But they were signihcant public land- 
marks executed with clarity and coolness. They were 
followed by community and arts centres and even an 
underrated market hall in unlikely Wakeheld. While 
Adjaye was shifting gear into the public sector, this 
busiest of individuals did what very few of us now 
do. He developed a hobby. Between trips he would 
travel to African cities snapping what he saw. He 
collected images of endless informal settlements with 
their astonishing variety of self-built structures scav- 
enged from the detritus of modern life. He snapped 
the mud churches of Mali and he collected dramatic 
shots of the ambitious, inventive modernist monu- 
ments which sprang up across a newly independent 
continent in a Sixties explosion of optimistic futurism. 

The hastily snapped photos were assembled in 
Adjaye, Africa, Architecture, a scrapbook of inven- 
tive, unfamiliar cityscapes and fragments pointing a 
massive black arrow at the next change of direction 
in the architect's career - to the continent of his birth. 

Adjaye was born in Tanzania in 1966, the son 
of a Ghanaian diplomat. By the age of 14 he had 
lived in Egypt, Lebanon, Yemen and Saudi Arabia. 
Arriving in London, he was disappointed by his 
friends' insular Englishness, the smallness of their 
world - a smallness that resurfaced as schadenfreude 
when Adj aye's success began to falter. It culminated 
when, following the hnancial crisis, his practice 
almost went under in 2009. He switched his focus, 
unsurprisingly, abroad. 

When I once asked him if he felt like 
an African architect, he winced at the 
idea of being limited to one place. "I am 
an African," he said, "You only have to 
look at me." But he then explained how 
these notions of being bound to place 
were meaningless: "My generation isn't 
dehned by their passports." He is a 
global architect with, he says, "an 
African soul". And now he is working 
where his soul takes him, building all 
over Africa - a museum of slavery; a 
house for former UN secretary general 
Koh Annan in Ghana (as well as his 
own home nearby); glamorous, urbane 
housing in South Africa and Shanghai; a children's 
cancer treatment centre in Rwanda. 

For most of the last century, Africa was plun- 
dered by Western artists who used the vibrancy and 
variety of its arts and crafts to reinvigorate dying tra- 
ditions (when I suggest this to Adjaye he laughs and 
says, "Inspiration? The continent has been raped"). 
From Picasso to free jazz, from hip hop to fashion, 
Africa has been used as a dark, bottomless inkwell 
of ideas to be dipped into at will. But its architec- 
ture has been almost ignored. It is the continent's last 
great unplundered artistic resource, and this time it 
is not a white man but an architect with an African 
heritage who is opening our eyes to its magic. © 

Now he is 
his soul 
takes him, 
building all 
over Africa 

Ewan McGregor’s house, 
London NWS 

David Adjaye designed a iarge 
‘ciear-box’ structure using steei 
and giass for the actor’s home 
in St John’s Wood. 

222 GQ OCTOBER 2015 


Moscow School 
Of Management, 
Skolkovo, Russia 

Smithsonian Museum Of 
African American History 
& Cuiture, Washington DC 

Harsh winters prevented a 
traditional campus arrangement, 
allowing for this striking design. 

Opening in autumn 2016, the 
building reflects African design 
heritage in its bronze latticework. 

Cape Coast Siavery 
Museum, Ghana 

Roksanda llincic store, 
London W1 

Sugar Hiii Deveiopment, 
Hariem, New York 

Near Elmina Castle, a key site of 
the transatlantic slave trade, this 
forms the cornerstone of a 
development including a hotel. 

Adjaye translated the Serbian 
designer’s love of geometry into 
staggered concrete slabs and a 
herringbone marble floor. 

Features 124 affordable housing 
units, preschool facilities and 
a museum - with a facade 
embossed with images of roses. 

The Francis A Gregory 
Library, Washington DC 

The building “mates” with its 
parkland surroundings with a 
chequerboard-effect timber and 
glass facade and a “floating” roof. 

OCTOBER 2015 GQ 223 

England loves an accidental hero 

Chris Robshaw is well placed to join an elite club of successful captains who almost never were 


W e tend to remember World Cup-winning captains in this 
country. To be fair, we haven't had enough to forget any. 

Bobby Moore and Martin Johnson. That's your lot. Moore, 
wiping his sweaty hands on the velvet of the Royal Box, 
because he was about to meet the Queen in 1966; 

Johnson the man-mountain lionheart of England's 
triumphant Rugby World Cup down under. We tend 
to think of them both as minted for the role. It 
wasn't really like that. 

Had Duncan Edwards survived the Munich air 
disaster in 1958, Moore may not have been 
England's captain at all. Edwards had earned just 
18 caps when he died, but was expected to succeed 
Billy Wright, having already captained England's 
schoolboys and Under-23 teams. In 1966, Edwards 
would have been 29 and at the peak of his career. 

Moore would have made the team, no doubt, but as 
captain? Probably not. As it was, Geoff Hurst claimed 
in his autobiography that his team-mate, George Cohen, 
overheard Sir Alf Ramsey talking of dropping Moore for 
the hnal. He was deliberating over a surprise call-up for 
Norman Hunter, Jack Charlton's team-mate at Leeds United, and 
a faster centre-half. It could have worked out very differently. 

The same with Johnson, who is now hxed in most memories as 
Sir Clive Woodward's captaincy rock, when he was in fact a battleheld 
promotion after Lawrence Dallaglio was undone by a News Of The 
World sting four years prior to the 2003 World Cup. Dallaglio boasted 
to undercover reporters that he took, and had even dealt, hard drugs, 
and despite his later denials, Johnson was promoted in his place. 
Emotionally, spiritually, Johnson will always be the leader of that team. 
Yet Dallaglio remained the player closest to Woodward, his primary 
sounding board in the dressing room. 

The irony is that Chris Robshaw, England's captain for this 
year's Rugby World Cup, isn't considered to have the elegant 
gravitas of Moore, or the inspirational character of Johnson 
- yet is, in essence, more to the manor born as leader than 
either man. He had played one game for England when 
head coach Stuart Lancaster selected him for the role, and 
his status has rarely been in doubt since. Robshaw was 
initially considered to be keeping a seat warm for Tom 
Wood, and only got the gig for a two-game probationary 
period. Lancaster's habit of naming his captain at the start 
of each fixture bloc cannot have helped with job security, 
either. Yet, close to four years later, here he is, still going 
strong, growing in stature with each campaign. 

Earlier this summer, I met Lancaster at England's training 
base in Surrey. Even he admitted there were no obvious 
candidates when he succeeded Johnson as coach in 2011. 

Robshaw, who Lancaster knew from his time with England 
Saxons, was among a number under consideration. "Everyone was 
debating who would be the captain," was Lancaster's memory of the 
time. "Chris had one cap back then; obviously he's going to be a more 
substantial figure 40 games later." 
Modestly, he plays down his powers of 
insight when making the choice. 

Indeed, Robshaw had an inauspicious 
start. In his hrst year, against South Africa 
and trailing 16-12 with two minutes 
remaining, he told Owen Earrell to kick 


Chris Robshaw 

Total caps 

37 ( 2009 -) 

Caps as captain 

36 (2012-) 

World Cup-winning cap 


Games won as captain 


Martin Johnson 

Total caps 

84 ( 1993 - 2003 ) 

Caps as captain 

39 ( 1998 - 2003 ) 
World Cup-winning cap 
84th ( 2003 ) 
Games won as captain 


Bobby Moore 

Total caps 

108 ( 1962 - 1973 ) 

Caps as captain 

90 ( 1963 - 1973 ) 
World Cup-winning cap 
47th ( 1966 ) 
Games won as captain 


Slow burn: England 
rugby captain Chris 
Robshaw - here with 
girlfriend Camilla 
Kerslake in April 2015 - 
was not a clear favourite 
to lead the team in 2009 

for goal and, although successful, predictably 
ran out of time. "That one decision has 
said to the public we don't know how 
to lead this side," said World Cup 
winner Matt Dawson. "We are 
not making the right decisions 
at the right time. It's 
baffling." A year later, 
Robshaw was left out of 
the British Lions squad, a 
rare occurrence for an 
England captain. "I did 
feel for Chris at the start," 
Lancaster added, "but 
he's pretty resolute and he 
dealt with it . He's answered 
^ the criticism. Man-of-the- 
match performances, top 
tackier, top carrier - he leads 
by example." 

If there was a coming of age for 
Robshaw, it occurred in the Millennium 
Stadium, Cardiff, in Eebruary the first 
match of the 2015 Six Nations. The hosts 
wanted England to take the field first, 
abandoning them to a cold night and a hostile 
crowd while Wales delayed their entrance for 
maximum warmth, comfort and patriotic 
noise. Robshaw was having none of it. He told 
his team to stay put. A tunnel stand-off 
developed; the game was delayed. In the 
end, the teams came out together. 
England won 21-16. Moments of 
cussedness, coupled with an 
increasing number of outstanding 
individual performances, have 
recast him as a leader of substance. 
"The plan was to invest 
experience into players who were 
new to international rugby," 
Lancaster said. "Chris has always 
made his position on merit. To have 
so many games without injuries 
shows his robustness. He's now 
ready to deal with the pressure of 
a big tournament. The captain as 
iconic leader is not necessarily how 
it works in rugby. The strength is in 
the collective, but Chris represents 
that collective and does it brilliantly." 

What Moore and Johnson also had, of 
course, were team-mates strong enough to 
allow them to be remembered. So much of 
Robshaw's legacy is out of his hands. If 
England do take this opportunity, however, 
Lancaster may have to revise his thoughts on 
rugby icons. Robshaw has the potential to join 
the greats; some might even say he was 
made for it. © 

224 GQ OCTOBER 2015 

Photographs Getty Images 

Photograph © Broomberg & Chanarin Illustration Jorge Mateus/lllustopia 


Unresolved conflicts 

Broomberg and Chanarin’s dark 
work makes a virtue of dishonesty 


O riginally fronn 
South Africa, 
now based in London, 
Oliver Chanarin and 
Adam Broomberg 
(above, from left) are 
known for their ability 
to infiltrate institutions 
using strategic lies. For 
“The Day Nobody Died” 
(2008), they claimed to 
work for a newspaper 
and embedded as 
photojournalists with 
the British Army in 
Afghanistan to produce 
an absurd, conceptual 
riposte to the death toll 
they encountered 
using swathes of 
photographic paper 
exposed to the sun. 

“It’s interesting 
how narcissistic 
these power 
structures are,” 
says Chanarin. 

“They just 
assume everyone 
signs up to their 

Now, having spent 
more than a year 
posing as conventional 
documentary makers 
at a military camp 
on the outskirts of 
Liverpool, the duo 
has created Rudiments, 
a project that includes 
a film in collaboration 
with performance 
artist Hannah Ringham 
and the American 
musician Kid Millions 
- and it is their most 
visceral response yet 
to the power structures 
they like to interrupt. 

“This is an extension 
of our work in conflict 
zones but more 
psychological,” says 
Chanarin. “It’s about 
what comes before 
war. It’s about people, 
childhood, our 
relationship to 
violence, empathy.” 

Accordingly, the 
footage features young 
army cadets marching, 
drumming and being 
shouted at, interrupted 
by the disturbing figure 
of a bouffon, a “dark 
clown” that would have 
been invited into a 
medieval court one day 
a year to mock power. 
The bouffon’s lewd 
gestures, facial 
expressions and 
soft, white, 
maggoty body 
acts “as a kind 
of insurgent, 
a virus we could 
insert into this place”, 
says Chanarin. 

will be shown as 
“a monumental 
projection” at Lisson 
Gallery accompanied 
by three large-scale 
photographic series, 
one of which features 
the bouffon. 

“Hannah found 
our way of working 
so difficult that by 
day four she had 
a meltdown.” Says 
Broomberg. “In the last 
scene it may look like 
she’s playacting, but 
she’s really crying.” ® 

Broomberg & Chanarin: Rudiments, 25 September 
31 October. 52-54 Beii Street, London NW1. 
020 7724 2739. 

Now let us praise bearded men* 

History's most influential and hirsute thinkers were 
channelling God himself. And whiskers mean trouble.. 


A ccording to a recent study by Australian 
researchers, men grow beards as a 
"badge" of their sexual potency Like many 
scientihc studies, this reveals almost nothing 
we didn't already know As the paternalisti- 
cally bearded Sigmund Freud demonstrated, 
you can claim that men do everything in an 
attempt to get laid. The reasons for bearded- 
ness are a bit more complicated than that. In 
ancient Rome, for example, the emperor 
Hadrian dehed the fashion to be clean-shaven 
and instead cultivated a distracting beard to 
disguise a birthmark. His subjects followed 
suit and Rome became a bearded empire. 
Fast-forward to Sixties counter- 
culture and to be hairy suggested, 
oddly enough, that you were in 
touch with your feminine side. 

But what concerns us here 
is something more interesting. 

I've spent the past year co- 
writing a cheerful introduction 
to some of civilisation's greatest 
thinkers, and I've been struck by 
the fact that most of them 
sported heavyweight facial hair; 
a beard intended to convey the 
message that they were well 
equipped to interpret the world, because 
they may, just possibly, have had a hand in 
its creation. Let's call it the "God beard". 

In the 19th century, everyone was at it. 
Partly, this was a habit brought back from 
Asia. But it was also because, at the time, 
seriousness and authority were coming under 
threat from every side. No one was more 
keenly aware of this state of affairs than 
those who were most responsible for it - and 

The beard 
conveyed a 

Let's call 
it the 'God 


it was these men who grew the 
most enormous beards. Karl 
Marx delineated a godless process 
by which, he was convinced, the bourgeoisie 
would be overthrown. Meanwhile, he grew a 
beard so marked, a friend compared it to that 
of the Zeus of Otricoli. Another great 19th- 
century system builder was the prodigiously 
bearded Charles Darwin, whose theories 
would ultimately rival major religions. Other 
scientists were developing similar ideas, 
but as Darwin was the hairiest, he was the 
easiest target for cartoonists, who sketched 
him as a monkey, mocking the notion that 
men might be related to apes. 
The image stuck and his fame 
was sealed. 

Darwin. Marx. Freud. Tolstoy 
Morris. Consciously or not, all 
were taking a leaf out of God's 
book, creating a man in His 
image: namely, themselves. 
Others grew their beards to 
pledge allegiance. The average 
Victorian beard declared con- 
servatism, seriousness, depend- 
ability: desirable qualities in 
those times of social, spiritual 
and political upheaval. 

Now, I'm not trying to claim that the pos- 
session of a God beard automatically makes 
you a profound thinker or implies that you're 
on the point of constructing your own moral- 
ity But what I do want to suggest is that the 
big beards that are currently blossoming are 
a sign of the troubled times in which we live. 
And I suspect we're going to see a lot more 
before this phase is over. © 

OCTOBER 2015 GQ 225 

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The constant need for a wardrobe 
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hner things is concerned. With this in 
mind, F&F is offering some respite for 
those looking for an essential autumn/ 
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For this season, autumnal (and more 
natural) trends are at the forefront of 
F&F's latest collection and - more 
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throughout the range. The emphasis on 
outerwear builds the foundation, making 
parkas (with a faux-fur trim), knits and 
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Chunky knits and textured checks 
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So, for a change of pace in your autumn/ 
winter wardrobe, be sure to set your 
sights to F&F. 

Illustration Morten Norland 

Labour will confront 
the reawakening 
of the Left 

entered a different phase, which, depending 
on your perspective, reanimates an ancient 
battle between moderacy and the Left that 
was generally thought to be long-settled; or 
demands a new radicalism ht to challenge cap- 
italism and the pathologies of globalisation. 

The Corbyn campaign gave the Left a spec- 
tacular (if skin-deep) makeover. Socialism was 
no longer the outdated cousin of the ideology 
that collapsed in 1989 with the Berlin Wall. 
It was presented as the shiny new 
answer to the problems of 2015 and 
beyond: from retro to box-fresh, in 
a single leadership contest. Whoever 
leads Labour into the next election, 
this hght within the party is real. 
And so to Manchester where 
Cameron will enjoy a victory lap for the 
most unexpected Conservative election 
triumph of modern times. Amid the celebra- 
tions, expect to hear talk about the hard yards 
that lie ahead if the economy is to have stable 
foundations, public services to improve and 
the welfare revolution to take root. 

But - since the PM has already announced 
his intention to step down before the next 
election - he can hardly complain if specula- 
tion about his successor begins in Manchester. 
George Osborne, steersman on the economic 
recovery and chief electoral strategist, has 
rarely looked stronger. But Theresa May, Sajid 
Javid and others are also in the running. 

And never forget that the hnal decision is 
taken by Tory members, who choose from the 
shortlist of two drawn up by MPs. Which 
means, quite simply, that Boris Johnson is the 
man to beat. Watch the Tory tribe rise to its 
feet when the mayor of London and recently 
elected MP for Uxbridge and South Ruislip 
delivers his speech. Osborne would make a 
hne prime minister. But he must hrst get past 
a huge mop of blond ambition. 

And so, the Tory conference over, the tour is 
over... except not quite. Britain's third party is 
no longer the Lib Dems. That distinction 
belongs to a movement that is not even a 
UK- wide party. Indeed, its very name declares 
its intention to detach itself and seek an 
independent future. For now, however, it has 
56 MPs, which, given the government's 
slender majority of 12, means that its strategy 
has an impact upon all of us. It also means that 
Cameron's closing speech in Manchester will 
not mark the end of the tour for the TV trucks. 
So: more media than ever will have to go to the 
Scottish Nationalist conference this year 
(15-17 October). Nicola Sturgeon will have the 
last word. No sleep till Aberdeen. 

Unconventional wisdom 

This autumn's party conferences will be a five-part soap opera 


I f a week is a long time in politics, then a year is an eternity. When the Liberal Democrats last 
gathered for their annual conference, they were in government, 56-strong in the Commons 
and led by Nick Clegg. This year, they meet in Bournemouth under Tim Farron's leadership, out 
of office and out of luck: only eight Lib Dem MPs survived the rout of the general election. 

Most parties use their conferences to explore strategy or dramatise debate, and as free TV 
advertising. For the Lib Dems this meeting of survivors will be all about political triage: what 
can be saved of the party? Indeed, what is worth saving? 

This election has changed everything. For a start, the conference season has been transformed 
from a three-act drama - the warm-up of the Liberal Democrats, followed by the main fortnight 
of Labour and Conservatives - to a hve-part marathon. The media can no longer ignore the Ukip 
meeting at Doncaster Racecourse from 24-26 September - at which the Millwall of political parties 
will ask itself how it contrived to win 12.6 per cent of the vote but only one Commons seat. And 
the real prize is still in their grasp: before the end of 2017, and perhaps sooner, David Cameron 
must hold a referendum on the UK's membership of the European Union. 

Expect Nigel Farage to make much of the Calais crisis, promising (mis- 
leadingly) the immigration issue will melt away if we split from Brussels. 

Then it's off to Labour, where the new leader will set out a stall for 
reconstruction. It is hard to exaggerate how traumatised the party was 
by its defeat in May. Ed Miliband had believed that some form of 
parliamentary pact with the Scottish Nationalists (and perhaps others) 
would steer him into Number Ten, and could be the beginning of a new 
progressive alliance. Labour's net loss of seats was only 26 and its share 
of the vote actually rose by 1.5 per cent. But elections are about emo- 
tional impact and expectation as much as dry statistics. Miliband had 
completely misinterpreted the political landscape: he believed that the 
centre-ground had shifted signihcantly to the left since the hnancial 
crash and that the voters were with him in this regard, ahead of 
Cameron and media orthodoxy. Not so, as it turned out: not so at all. 

The consequence was a summer of ideological turmoil, with Jeremy 
Corbyn stealing the show. He quoted Abraham Lincoln, but more closely 
resembled Father Abraham leading an army of red Smurfs. The convul- 
sions of Corbyn-mania will be felt for years to come: they matter at least 
as much as the identity of Miliband's successor, revealed at a separate 
special conference on 12 September. 

At the party's annual conference proper, 
in Brighton, from 27-30 September, Labour 
will confront the consequences of its deci- 
sion and of the reawakening of the Left. It 
is only nine years since Tony Blair's last 
conference as leader. But the party has 

The long and 
short of it 

David Lloyd 

Torquay, 1930 

9,599 words 

This conference was 
the first held since the 
Liberals joined Labour 
and the Conservatives 
to form a National 
Government in the 
wake of the 1929 
Wall Street Crash. 

Playground politics: 
Labour’s Jeremy Corbyn 
and Ukip’s Nigel Farage 
are two of the loudest 
voices competing to 
be heard in the UK’s 
crowded political field 

John Major 

Blackpool, 1997 

1,122 words 

Major’s resignation 
speech after losing in 
the general election. 

OCTOBER 2015 GQ 227 


Set your cultural compass to this month’s pole 


Good Night And 
Good Riddance: 

How Thirty-Five 
Years Of 
John Peel 
Helped Shape 
Modern Life 
by David 


Probably like you, 1 didn't think 1 
needed to read another book about 
John Peel, the legendary DJ who 
died eleven years ago. Having 
read Margrave Of The Marshes, 
the autobiography he was halfway 
through when he died (it was 
completed by his wife, Sheila), 

John Peel: A Life In Music by 
Michael Heatley, The Peel Sessions 
by Ken Garner, as well as The 
Olivetti Chronicles (a compilation 
of his writing), 1 felt my interest in 
the most influential DJ in British radio 
history had been exhausted. However 
- and here come those letters, falling 
from the sky like polystyrene video 
props - David Cavanagh's book 
squeezes yet more juice out of his 
subject, explaining in lovingly crafted 
prose just exactly how Peel charted 
and mapped the tastes of at least two 
generations (possibly three) of music 
lovers. This book isn't just diverting, 
it's essential. Dylan jones 




Tom Hardy stars as Reggie Kray, with 
the other Kray twin, Ronnie, played 
by... Tom Hardy, making him the only 
actor who can upstage himself or beat 
himself to an Oscar. The director - 
Brian Helgoland - is not exactly from 
sterling stock (he directed A Knight's 
Tale), but it's the brooding Hardy, a 
perfect fit for the stoically malevolent 
twins, that makes this biopic worth 
investigating, stuart mcGURK 


I Cry When I Laugh 
by Jess Glynne 


Londoner Jess Glynne has hit Britain's 
dance-pop sweet spot, appearing on 
four Nol singles, including her own 
unimpeachable "Hold My Hand". 

Her no-nonsense debut album moves 
smoothly between house, garage and 


Frieze London: 2015 
at Regent’s Park, London 

14-17 OCTOBER 

The most exciting thing about this top 
international contemporary art fair is 
always Frieze Projects, a platform for 
emerging artists. Expect architectural 
interventions: the fair's entrance 
transformed by found objects 
from film sets; a cave of 
worship to the Greek god 
Pan; a sensory underground 
space. And don't miss the 
free-to-enter Sculpture 

The Names 
by Baio 


Referring to this as a bassist's solo 
project doesn't do it justice. Vampire 
Weekend-er Chris Baio's debut album 
of glowing synth-pop and wistful 
dance music stands on its own merits. 
An end-of-summer delight, dl 




Based on the 1996 Everest disaster 
(and the subsequent book by 
journalist Jon Krakauer, who was 
there), it catches the mountain at a 
time when "summiting" was becoming 
a commercial enterprise - and what 
happens when a storm hits. You can 

guess the rest, but the result is not 
about who of Jake Gyllenhaal or 
Jason Clarke pegs it, but the visceral 
experience during their climb, which 
puts you in their frosted boots. Our 
advice: see it at an iMax. sm 


Sweet Caress 
by William Boyd 


The wartime setting of the author's 
best-selling thriller Restless is 
captured once more through the 
lens and life of a female war 
photographer, Amory Clay, 
a worthy companion 
of Logan Mountstuart 
of Boyd's epic Any 
Human Heart. 





Directed by John 
"ER" Wells and 
^ written by Steven 
f Knight - of Peaky Blinders fame 
- Burnt should have more to it than 
the by-numbers plot and poster 
suggest. Bradley Cooper plays a top 
chef who flames out on drugs and 
ego in Paris, and aims to return to 
London, clean up and launch a 
restaurant that bags all three 
Michelin stars. Don't we all? Does he 
succeed? No previews at the time of 
press, but we're saying: probably, sm 

! SEE 

Clouds + Mountains 
+ Waterfalls by 
; UgoRondinone 
: at Sadie Coles, London 


Rondinone presents three new bodies 
- of work: mountain sculptures of 
Day-Glo rocks; waterfalls of thin, 
freestanding lines of clay cast in raw 
aluminium; and delicate blue cloud 
paintings. The human condition 
' examined through primordial 

phenomena, rigorous and beautiful, sh 


Inner desires: Matthew Darbyshire’s Blades House exhibition, 2007 

How to get yourself collected 

In his large-scale environments packed with valuable items, handmade 
sculptures and high street ephemera, Matthew Derbyshire explores the 
concept of collecting in the home, shop or office. What do objects say 
about our tastes, value judgements, politics and economic agenda? sh 



And Twenty-light Nights 
by Salman Rusl idie 


A futuristic 1,001 Nights by one of 
our greatest storytellers, once 
again set in Rushdie's 
adopted home of 
New York City, oc 



by Destroyer 


(dead oceans) 
Having won blanket 
acclaim for the high- 
fldelity pop of 201 1's 
Kaputt, Dan Bejar swerves 
left with a dark, baroque cycle built 
I on brass, strings and Seventies rock. 

] 1 prefer it. Many Kaputt fans won't, 
j 1 doubt the ornery Bejar cares, dl 


The Outsider: My Life 
In Intrigue 

i by Frederick Forsyth 


, Those addicted to thrillers will enjoy 
I The Day Of The Jackal author's 
' autobiography, covering his time as 
a war correspondent and featuring 
the kind of imaginative espionage 
; on which such writers rely, oc 


Blind Spots by 
Jackson Pollock 
! at Tate Liverpool 


Rare works, many unseen in the UK, 
are shown alongside the painter's 
iconic colourful drip paintings 
(1947-49). His lesser-known black 
pourings (1951-53) signify a turning 
point in Pollock's provocative career 
and his drawings and sculptures of 
the same period are a must-see. sh 


The Martian 


Adapted from the kind of poppy 
airport novel that make great Aims, 
The Martian sees Matt Damon as the 
survivor of an astro-catastrophe. 
Presumed dead, Damon must flgure 
out how to stay alive. This year's 
Gravity. Just on Mars, sm © 

22S GQ OCTOBER 2015 

Photograph Matthew Darbyshire 


GO is the only magazine in Britain dedicated to bringing yon the very best in style, 
investigative jonrnalism, comment, men’s fashion, lifestyle and entertainment. 

British GQ is the magazine to beat 


BSME Digital Art Director Of The Year 


P&G Awards Best Styling (GQ Style) 


DMA Designer Of The Year 


P&G Awards Best Grooming Editor (GQ Style) 


TCADP Media Award 


P&G Awards Best Styling (GQ Style) 




FPA Feature Of The Year 

FPA Journalist Of The Year 

Amnesty International Media Award 



MDA/MJA Press Gazette Awards 

Interviewer Of The Year 

MDA/MJA Press Gazette Awards 

Best Designed Consumer Magazine 



PPA Editor Of The Year 

FMJA Online Fashion Journalist Of The Year 


MDA/MJA Press Gazette Awards 

Subbing Team Of The Year 


EICA Media Commentator Of The Year 


PPA Writer Of The Year 


DMA Men’s Lifestyle Magazine Of The Year 


PPA Writer Of The Year 


BSME Editor Of The Year 


Magazine Design Awards Best Cover 


Fashion Monitor Journalism Awards Outstanding 
Contribution To London Collections: Men 


Association Of Online Publishers Awards 

Best Website 


PPA Magazine Writer Of The Year 


BSME Magazine Of The Year 


Mark Boxer Award 


PPA Writer Of The Year 


BSME Editor Of The Year 


BSME Magazine Of The Year 


DMA Lifestyle Magazine Of The Year 


PPA Writer Of The Year 


Flelp For Fleroes Outstanding Contribution 


BSME Magazine Of The Year 


Px3 Prix De La Photographie Paris Gold Medal 


PPA Designer Of The Year 


Foreign Press Association Media Awards, Sports 


Printing World Award 


Amnesty International Media Award 


Total Design Award 


Amnesty International Media Award 


Jasmine Award Winner 


One World Media Press Award 


Printing World Award 


The Maggies Magazine Cover Of The Year 


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P&G Awards Best Styling (GQ Style) 


PPA Designer Of The Year 


PPA Writer Of The Year 


Ace Press Award Circulation 


BSME Editor Of The Year 


Ace Press Award Promotion 


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PPA Columnist Of The Year 


BSME Brand Building Initiative Of The Year 


PPA Publisher Of The Year 


MDA/MJA Press Gazette Awards Best Cover 


British Press Circulation Award 

Best Promotion Of A Consumer Magazine 

★ ★ ★ THE 18TH ANNUAL ★ ★ ★ 


This is the awards ceremony that all other awards ceremonies want to oe;^ 
Over the next 50 pages, we not only celebrate the funniest man on the planet 
(he’s kind of a big deal), but a musician who invented a genre; not only a 
politician who rescued the economy, but the singer who saved Glastonbury. 
Add in the fastest man on four wheels, the band who pulled off the most 
unlikely comeback, the Brit TV host blitzing America and the fast bowler 
who did the impossible. Ladies and gentlemen, in association with Hugo Boss, 
the 18th annual GQ Men Of TiVe Year Awards... 

★ / ★ 





OCTOBER 2015 GQ 251 




The reigning world champion has won more FI races than any other British 
driver in history - and he takes GQ’s pole position (again) 

The world 
ticks all 
boxes, and 
plenty more 

he blueprint for creating the perfect modern British athlete 
is undoubtedly based on the design of David Beckham: 
working-class background, supportive family, schoolboy 
talent in abundance with an iron will to win, a completely 
dedicated competitor with global appeal, with a love of 
fashion, tattoos, fast cars and an insatiable lust for life. 

Since the days of Golden Balls, however, there has been a system update. 
A 2015 digital upgrade, if you will. Which is why the GQ Sportsman Of The 
Year version 2.0 goes by the name Lewis Hamilton. The double (and cur- 
rently reigning) Formula One world champion ticks all Beckham's boxes, 
and plenty more besides. 

For starters, the 30-year-old is easily the best driver of his generation. Yes, 
the Mercedes AMG Petronas racer currently drives the fastest car on the 
track, but he has won at least one grand prix in every season he has been in 
the sport - a feat no other current driver can match, and has helped establish 
him as the richest sportsman in Britain with an estimated fortune of £88m. 

He manages to live the classic FI playboy lifestyle - he flies by person- 
al private jet, has a home in Monaco, he parties with models such as Gigi 
Hadid and Kendall Jenner, he holidays on a yacht in Barbados with Rihanna 
- and yet remains the consummate pro. 

And this year Hamilton has been leading the drivers' championship since 
the season started in Australia, he has won more FI races than any other 
British driver in history, and is odds-on favourite to equal Sir Jackie Stewart's 
record of three world titles come November. 

The least we could do was award him his third GQ Sportsman Of The Year 
title hrst. 

Jacket, £3,420. Trousers, £593. Both by Givenchy by Riccardo Tisci. Earrings, Lewis’ own 

234 GQ OCTOBER 2015 







He lives the classic FI playboy lifestyle 
and yet remains a pro 

Jacket, £1,035.. Turtleneck, £960. Both by Marc Jacobs, Earrings by Shamballa Jewels, £1,357. At Harrods. 


Fashion assistants Sam Carder and Kamran Rajput Grooming Yuko using Dermalogica 

A am 

‘Rock’n’roll is 
spontaneity plus 
a lot of humour; 
that’s its essence 



★ ★ ★ LEGEND ★ ★ ★ 


M 1^] \R 



Some rock stars burn out. Others fade away. This one did neither and has a new 
soio album to prove it. GO salutes the force of nature who keeps on rolling 

ou hear him before you smell him. That cackle bounces off the walls like a 
Ginger Baker drum solo. In fact, despite the endless light-suck-suck-light 
and cherry burn of a Marlboro Red, you don't smell Keith Richards (or 
rather his rock-star accoutrement) at all, in part thanks to a small white 
device about the size of a video game controller that sits whirring quietly 
in front of him like a mechanical spirit animal. He breathes, it breathes. He 
sucks, it sucks. It's called a Holmes "Smoke Grabber", a ten-buck ashtray- 
cum-odour hlter that the most famous guitarist in the world oh so polite- 
ly exhales his secondary smoke into as we sit on a leather couch and talk for nearly two hours 
about Crosseyed Heart (his new solo record). The Rolling Stones, William Burroughs, becoming 
a British GQ Man Of The Year (again), bent cops, good dope, Mick, Life and, surprisingly, Taylor 
Swift. The room we're in is seven floors up in a nondescript office building that looms over 
Manhattan's retail tourists, slurping up venti lattes and fast fashion on Broadway below. This 
is his manager, Jane Rose's, sanctum and there's a feeling that once you're in, you're in. A place 
where rock'n'roll history has been made, smashed to pieces, and remade, many times over. Jane, 
of course, has her own stories to tell - she was the one that managed. Anally to get Keith to kick 
the dope back in 1978, staying with him as he shook and shivered the devil out of his blood one 
last, exultant time. Not that she's telling, of course, and God forbid you have the temerity to ask. 
You don't mess with Jane. You don't mess with Ruby Tuesday either, Jane's dog, who greets all 
visitors with a lick and a leg hump, the latter feeling suitably decadent considering the surround- 
ings. Despite being only the size of a Celine handbag, that dog is a feisty one. Like her owner. 
Like Keith, who even at 71 looks up for, well, pretty much anything. Or nothing. Eyes blood- 
shot, a paper cup of his famous Nuclear Waste cocktail on the go - vodka, ice, fizzy orange pop 
- those Angers as gnarled as an old oak corkscrew handle my father once owned, his energy up, 
his leathery warm heart open and inquisitive. The Human Riff pops his head round the corner 
as I wait in reception, staring at the walls that are floor-to-ceiling with Stones memorabilia, gold 
discs and vintage tour posters just like paintings in the old Parisian salons of the 18th and 19th 
centuries. "Just going to the John, be back in a tick," he grins. And then he is. Folded in front of 
me, ready to talk. But first, a cigarette... 


★ It's been 23 years since your last 
solo record - what took you so long? 

No deadline, unlike a Stones record. When 
I finished the book [Life] with writer 
James Fox I realised that I spent three 
years reliving my life in a sort of deja vu 
- nothing new happening, you know, 
just memories. The Stones were in one 
of their dormant periods and then Steve 
Jordan [co-producer on all of Keith's solo 
projects] mentioned doing something. But, 
you know, the way I work, I got to get all 
the right guys together, the right cats, and 
that can take forever as we're all in various 
stages of flux. Steve goes, "Well, how did 
you write Tumping Jack Flash' and 'Street 
Fighting Man'?" Well, Charlie Watts and I 
just went into a studio and got 'em done. So 
that's what we did - went into a studio and 
pissed around. It's easier to make a record 
with two rather than four or five. 

★ How does Keith Richards go about 
writing a tune? 

Start up a beat, stand in front of a 
microphone with a guitar around your neck 
and you get that feeling of, "Well, seeing as 
Tm here I better do something!" Rock'n'roll 
is spontaneity plus a lot of humour; that's 
its essence. Some experiments work, some 
don't and then you try a different angle. 

★ Is songwriting a solitary pursuit? 
Songwriting is a great collaboration, because 
you can rip each other apart and, well, "No 
offence!" Who you can collaborate with 
comes down to "I'll see you tomorrow" or 
"Later pal!" I've never really sat around (>) 

OCTOBER 2015 GQ 239 





20 1 j 

(>) with others trying to write songs. Gram 
Parsons and I hung out a bit, one of the 
greats if he only hadn't been so stupid 
[Parsons died of a multiple-drug overdose 
in 1973]. Tom Waits was someone else who 
occasionally I met up with, which I found a 
real honour. I only found out several years 
later that he'd never written a song with 
anybody else except Kathleen, his wife, and 
"That Feel" [co-written by Richards and 
Waits in 1992] was the only other time. 

★ Do you ever get writer's block? 

Yeah, there's that bit of it. Sometimes a 
song can take 20 years to hnish. I think that 
goes along with all kinds of writing, not just 
songwriting. You realise you've got a great 
beginning, a fantastic ending but nothing 
going on in the middle. 

★ Any pressure for Crosseyed Heart 
not to sound like a Stones record? 

Never cropped up. I think half of it is that, 
since it's me, it's hard for it not to sound 
like a Stones record! In a normal run of 
events, probably half of these songs would 
have ended up on a Stones album. The 
last Stones record was 2005 and as far as 
writing a new album, we had gone into deep 
hibernation by 2007. We had drained it out. 
You know, 120 shows a year... You felt like 
saying there's no point anymore, there's 
nothing more to add to this. The Stones, 
luckily, have always had that opportunity 
of "let's get together when we feel like it". 

★ One of your earliest solo sessions was 
recorded in Canada in 1977 when you 
went into the studio, waiting to go to trial 
after you were busted for heroin in the 
Harbour Castle Hilton in Toronto... 

Forgive me but Toronto was a f***ing blur! 
But yeah, waiting to go to jail, basically. 

★ Wasn't the Canadian prime minister's 
wife holed up with the band at that point? 
I think Bill Wyman can tell you more about 
that than I can. I think she was trying to 

go through the whole band, probably. She 
knocked on my door once or twice. God, 
she was a piece of work, a lose cannon for 
a prime minister's wife. 

★ Did you expect the book to be thrown 
at you? 

I had no doubt. Somehow I snuck through. 
The idea of jail didn't appeal but at the same 
time I had a taste of it already. Basically, 
you know what kind of games they play in 
jail. Get a job in the library or the kitchens 
- that's my golden rule if you ever do a 

stretch. Luckily that stretch never happened. 
I mean. I've been so unbelievably lucky. The 
law always tried to add an extra charge on 
me, stick the knife in, which is why there's 
nothing on me. Same as the Cheyne Walk 
bust and the Marlborough Street trial in '73 
- they tried to push gun charges as well as 
the dope but I pleaded "Not guilty". The 
cops went red with rage. No dice. £250 hne, 
thank you very much and I'll spring for 
lunch, your honour! 

★ Did you feel untouchable back then? 

In an arrogant sort of way, yes. Actually, I 
felt righteous. In certain aspects of that case, 
Td say guilty, but other aspects need further 
examination. Especially, dropping bread 
to cops and they still do you. It's not very 
game. You don't mind dropping a few quid 
to the Yard, but you know, c'mon, a deal's a 
deal guys! 

★ How do you feel about the state of 
rock'n'roll in 2015? 

Tm still always trying to pin down the 
meaning, but, I mean, rock'n'roll isn't 
actually rock music. Rock'n'roll evolved out 
of the rhythm and blues of jazz. There's a 
swing on the beat and it's not easy to do. 

‘Image is this ball 
and chain that 
you drag behind 
you - it’s always 
out of date’ 

You're playing eight beats against four and 
by the time white people had got their 
hands on to rock'n'roll, it became rock. They 
turned it into a European march. They lost 
the roll. 

★ Nowadays you're up against Taylor 
Swift, Justin Bieber and the like. Worried? 

Taylor is a pretty girl. I don't think about the 
competition. I mean they're the flavour of 
the month, aren't they? I hope she does as 
well as I am at my age. Probably have tits 
down to here - at least I don't have to worry 
about them! Justin Bieber... Actually I met 
the guy and found him quite interesting and 
very humble, as he should be. The kid's on 
the run, basically. It felt like I was talking 
to a very confused young man. I remember 
he looked at me and was like, "So what do 
I do?" 

★ Your advice to Bieber? 

I think he should become a movie actor. 

His music? I mean [it's] a load of crap isn't 

it? But I understand. The teenyboppers 
were after me once and you can't put a 
foot wrong with them. I found him far 
more interesting than I expected. I've 
been leant on enough and he was like, 

"I've been doing this since I was 15, 1 had 
no choice!" Oh, poor old you. Lots of guys 
would love your problems, pal. "Should 
I take out the Lamborghini or the Ferrari 
tonight?" I mean... 

★ What do you spend your cash on? 

Very hne cars like my Bentley '66 - what a 
superb machine. I've had a couple of Ferraris 
and I do like driving. I like a car that I know 
will get me from London to Marrakech with 
maybe just one or two hll-ups. 

★ Does it grate that people still think 
you're strung out on dope? 

Well, when you're a junkie, you're a junkie. 
Image is this ball and chain that you drag 
behind you - it's always out of date. But I 
realise that portion of me, that rebellious 
image, is embedded. I don't mind being 
"him", he's a good comic character. It's like a 
cartoon version of the real me. I don't mind 
playing him, putting on a red nose and the 
big shoes and doing the "Old Keef" routine. 

★ What about those who attempt to 
emulate your past lifestyle? 

As my mother said, "Don't do as I do. 

Do as I say!" You know, don't try this at 
home, kids. I expect other people to be 
themselves. I understand the point of 
emulation; I wanted to be Chuck Berry for 
several years and before that I wanted to be 
Elvis. No, I understand that pull and urge 
among people, but the hrst thing you've 
got to ask is, "But who am I?" I expect most 
people will grow out of it. It's a youthful 
thing, you know. At my age everything's 
youthful. The whole country is run by 
children. Even the cops don't shave. 

★ Did fame drive you deeper into heroin? 
Yeah, it was a great hidey-hole. Mind you, 
that didn't stop me from taking cocaine. 

The way I was introduced into various 
substances was being on the road in '64 and 
'65 touring America nonstop on big, big bus 
tours, hearing the vibrations of Patti LaBelle 
And The Blue Bells or Tommy James And 
The Shondells. They used to carry the whole 
show, these cats. Come show time they've 
got their shit together, we're 19 years old 
and we're crawling on the floor. I had the 
audacity one night to ask, "Hey brother, how 
do you do this?' and he looks around the 
room, laughs and says, "You want to know 
how we do this? Well, you take one of these 
and then you pop that." That was basically 
it. It just went on backstage. It was also a 
jealously guarded secret - you didn't want 
the audience getting high, for Christ sake, 
God knows what might happen. Then, like 

Continued on page 327 

GO’S Most Stylish Man? A London Collections Men ambassador, 






Suit, £550. Shirt, £109. Bow tie, £49. All by Boss, 

A sk this year's recipient of the Most Stylish Man award how he 
alone has managed to jump species from menswear model to 
male "supe" and he'll tell you that he had nothing to lose (his 
career, after all, started when a friend secretly entered him for 
a TV modelling competition he duly won); because he's never chased 
fame for fame's sake ("I've never posted a selhe, never taken a picture 
of my dinner or posted anything to do with my personal life"); and 
because he's only ever been interested in "being at the top of my held". 

None of which fully explains why the population of that held remains 
exactly one. Sure, we can name a few of his contemporaries, but in the 
end there's really only David Gandy: 35, Essex-born star of that Dolce 

enswear designer, one-man brand and the world’s only male snpermodel, naturally 

& Gabbana fragrance commercial (already eight years old, although you'd 
hardly believe it looking at him) and, since its inception, a London 
Collections Men ambassador, where he's as happy to share the front 
rows with confreres Tinie Tempah, last year's Most Stylish Man Douglas 
Booth and (from next season) Lewis Hamilton as he is to make the occa- 
sional "walk" - this past season in support of Samuel L Jackson's male 
cancer charity. One For The Boys. 

But then, Gandy, by his own admission, is his own "brand", one that 
now extends far beyond the catwalk and the campaign to encompass a 
hugely successful own-label under- and loungewear range for Marks & 
Spencer (joined this summer by some choice swimwear) as well as 





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Grooming Larry King at Streeters using Bumble And Bumble Fashion Assistant Holly Roberts. With special thanks to Claridge’s 



‘My idea of style 
is a great watch, 
a great car, a 
great suit and 
a good entrance 

(>) his own footwear company, David 
Preston, developed after the model was 
introduced to its eponymous designer, 
whose range of Sixties-inspired boots and 
shoes had already struck a chord with the 
likes of Kasabian and Iggy Pop. "David's 
from the East End and looks like John 
Lennon," says Gandy "And I'm west 
London, sartorial, and somehow we've 
met in the middle. Which is Savile Row, 
I suppose." 

The gravitational pull of Mayfair's 
menswear mecca aside, Gandy's overall 
style game has been influenced by both 
his grandfather's Sunday best ("he would 
always be in a shirt and tie, and it would 
always be the perfect double Windsor 
knot") and anyone with "an air of 
mystery" (including Daniel Day-Lewis and 
Daniel Craig "because there's integrity 
behind what they do"). But today it's 
honed in the spotlight of social media, 
where he can reach upwards of 100 
million during the shows. 

"I put myself out there for work," he 
says. "So you have to be confident in what 
you're wearing. But I've never tried to be 
controversial. If there was a fashion test. 
I'd fail miserably. But hopefully I've been 
that bridge between the guy on the street 
and the fashion industry." 

So what, for the record, are the style 
signiflers most important to GQ's Most 
Stylish Man? The answer is admirably - 
and appropriately - brief: "My idea of 
style is a great watch, a great car, a great 
suit and a good entrance." 

Which for the Chopard-sporting, 
Jaguar-driving, Hugo Boss-tailored male 
supermodel leaves only the entrance: step 
forward then, David Gandy, and welcome 
to the hallowed hall of fame that is GQ's 
Most Stylish Men. © 

Suit, £550. Shirt, £109. Bow 
All by Boss. 






★ ★ ★ CULTURAL ICON ★ ★ ★ 

JJ Abrams 

This year, sci-fi’s modern master is taking us back to a galaxy far, far away... 

hen I first met JJ about four years 
ago, the hrst thing he said to me 
was, "I loved you in Attack The 
Block. We are dehnitely going to 
work on a project together." 

I didn't believe him, as eve- 
ryone in Hollywood was telling me that stuff. 
But JJ looked me in the eye and promised. Four 
years later I got a call saying he wanted to see 
me for Star Wars, and so far he's the only person 
in Hollywood who has kept their promise. 

For me, his greatest trait - and I've never 
told him this - is that he's a family man, and 
very stable. He lives by his word and has a 
high moral standard, and that, to me, is inspi- 
rational. The most important thing he's taught 

me is about manhood. He has a natural humility 
to him. 

A director leads you on a journey, and you're 
stuck with a director. If your director is anti- 
people it becomes quite uncomfortable. But 
working with JJ is great. He has a way of 
expressing himself that is very interesting. 
He's all about people, and he's very spontane- 
ous. When he would talk to Daisy [Ridley] on 
the Star Wars set he would talk to her in a dif- 
ferent way to how he would talk to me, as he 
knew we were two different people with two 
different acting styles. 

Working on the Star Wars set he created a 
unique environment. It was always very vibrant. 
I call JJ a nerd rock star. He's a young guy in 

his soul. You should see him freak out when he 
sees Chewbacca in full costume! To me, he's a 
him fan making his favourite hlms. A student of 
him who's making movies with a lot of money! 

He will carry on the legacy of Spielberg and 
Lucas. He has a great understanding of the 
technical side of it, as well as the artistic side, 
which is really unusual. He makes the director 
of photography happy as well as the actor - a 
lot of directors are just obsessed with spectacle, 
or getting the actors on point. 

My relationship with him is one of the 
few I have in the industry where it feels like 
we're friends. Td describe him as a big brother. 
Hopefully when I retire I'll have JJ over and 
we'll have a laugh like the old times. © 


OCTOBER 2015 GQ 247 


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ESTD 1934 





'd just spat in his face and he called 
me a star of the future." 

Jack O'Connell - GQ's Vertu 
Breakthrough Actor - is recalling his 
hrst, feisty encounter with Sir Michael Caine, on 
the set of Harry Brown in 2009. 

"I took a lot from that moment," recalls the 
25-year-old. "In one way or another it's a piece of 
feedback I've been searching for all my life." 

Now, relaxing post-photoshoot in one of the 
well-appointed rooms of Coworth Park, and tricked 
out in black tie, O'Connell looks every inch the 
star Sir Michael predicted six years ago. What's 
more, the Bafta Rising Star winner has the CV to 
back it up, having recently completed hlms with 
Jodie Foster and Christoph Waltz among others. 
Enjoying a break here with his mother, Alison, and 
sister, Megan, he reinforces his star credentials by 
admitting that Angelina Jolie introduced him to the 
Berkshire country house hotel as the ideal spot to 
prepare for his starring role as Second World War- 
hero Louis Zamperini in her him Unbroken. @ 













When Hollywood came 
knocking for Derby’s multi- 

award-winnipg angry yonng 
man, the dodr was thrown 
open by an actor who’s 

open by an actor who’s 
set to define his generation 



hahdmape: im 

r Suit, £1,560. Shirt, £365. 
Bow tie, £85. Cufflinks, £95. 

All by Alexander McQueen, 


OCTOBER 2015 GQ 249’ 

©It's fair to say O'Connell didn't trouble room service too much 
during that visit, as he dropped down to 54kg - "those were the 
dizzy days" - in preparation for playing the Olympic runner and 
Japanese POW survivor. He still looks somewhat slender and 
admits, with words certain to send middle-aged men reaching 
for the smallest violin, that he's "struggling to put it back on". 

Such sybaritic surroundings also emphasise the distance 
O'Connell has travelled from his native Derby in the decade since 
his breakthrough in This Is England. 

"Where I'm from, all that's expected is staying on the bread- 
line," reasons O'Connell. "That's a huge achievement in Derby. 
Just achieving normality is a f***ing success." 

And the further he's travelled from his hometown, the more he's 
found the need to moderate his distinctive east Midlands accent. 
"It's absolute havoc in America," he laughs. "I'm constantly 
repeating myself and they always think I call myself 'Chuck O'Donnell'." 

From playing the loose cannon Cooky in Skins to his standout turn as the uber- 
violent Eric Love in prison drama Starred Up, O'Connell has always been able to access 
a disturbingly realistic level of anger. As a teenager he was regularly on the fringes of 
serious trouble, although he maintains he was never a bully. 

"Anger was my mask for fear when I was growing up," he reasons. "If I was ever scared. 
I'd make out I was very angry and willing to hurt someone just so it would lessen the 
chances of being physically hurt myself. Even that in itself was an act." 

Despite his forthcoming Hollywood hlms, such as Money Monster with George Clooney 
("Good lad, I speak highly of the fella") and Rosamund Pike in HHhH about the Czech 
resistance hghters who assassinated Holocaust architect Reinhard Heydrich, O'Connell 
is still looking close to home for work. As we speak, he's trying to sort out an unspeci- 
hed theatre role in Sheffield and still wants to work on British TV. 

"Td love to do Peaky Blinders," he smiles, aware of his shameless self-promotion. 

His garlanded mentor. Sir Michael Caine - never one to look a gift horse in the mouth 
himself - would doubtless approve. 


\i \R 




★ ★ ★ ♦ 



★ ★ ★ 



‘Anger was 
my mask 
for fear 
when I was 
up. It was 
an act’ 

Vest by Sunspel, £30. Razor by 

Taylor Of Bond Street, 


ustralians have never been fond of 
Stuart Broad. A year and a half ago, 
while on the disastrous 5-0 Ashes 
defeat down under, he was so 
despised by the locals that one Brisbane 
newspaper refused to print his name, referring 
to him mockingly as “the 27-year-old medium 
pace bowler” and blanking out his image in 
photographs. Great white sharks get better 
press on the Gold Coast. 

So why the opprobrium? They would claim it 
was because he is a “cheating Pom”. But maybe 
it is because Broad always seems to save his best 
for the old enemy. Well, if they hated him before, 
heaven knows how they feel about him now. 

Broad came back from England’s humiliation 
in Australia last winter. He came back from the 
nightmares he suffered after being hit on the 
head by a ball in a match against India last year. 
And, last month, at Trent Bridge he did something 
that will be talked about for years to come. 

Broad’s astonishing, Ashes-regaining spell of 
fast bowling on the first morning of the fourth 
Test made history. His career-best figures of 
eight wickets (including his 300th) for just 15 
runs in 9.3 overs reduced Australia to the shortest 
first innings ever in Test cricket. England were 
expected to lose this series; thanks to Broad, 
they won it with a game to spare. Intelligent, 
ruthless and determined, this was the moment 
when Stuart Broad bowled the perfect spell; 
when a good player became a great one. @ 


250 GQ OCTOBER 2015 

Photograph Getty Images; Marco Grob 


Photograph Sebastian Kim/Management+Artists 

Giorgio Moroder 

From Scarface to Sia, the synthesiser king knows the score 

Suit by Paul Smith, £890. 
paulsmith. Shirt by 

Ermenegildo Zegna 
Couture, £220. zegna. 
conn. Sunglasses by Super 
& Giorgio Moroder, £275. 

iorgio Moroder's philosophy might be summed up as "Go big or go home." The Italian innovator 
and hitmaker seized the Zeitgeist for a whole decade before effectively retiring in the late Eighties. 
He had already achieved enough for a lifetime. Moroder found success in his late thirties with the 
mechanised disco juggernauts he made with Donna Summer, including the deathless "I Feel Love". 

Moving on from disco before the bubble burst, he brought synthesisers to the multiplex with his scores for 
Midnight Express (for which he won the hrst of his three Oscars) and Scarface. He produced and co-wrote hits 
for Sparks, Japan and David Bowie, while pushing blockbuster soundtracks into the Eighties. Blondie's "Call 
Me", Berlin's "Take My Breath Away", Irene Cara's "Flashdance... What A Feeling": all Moroder's work. 

He achieved all this while living in a Beverly Hills mansion and wooing actresses at LA hotspots. As soon as 
he got bored he disappeared into the life of a jet-set dilettante, so thank Daft Punk for reigniting his love of 
music with their audio biography, "Giorgio By Moroder", from their 2013 album Random Access Memories. 
On this year's comeback album, Dejd Vu, featuring Kylie, Britney and Sia, the 75-year-old's pop instincts are 
undimmed, while his influence can be heard everywhere from EDM clubs to the Drive soundtrack. "It's funny 
to read the papers now," he said recently. "It's almost like I invented music." He invented more than most. 


OCTOBER 2015 00 253 



★ ★ ★ WOMAN OF THE YEAR ★ ★ ★ 






She’s that rare thing: the ass-kicking action heroine. 
GO bends the knee to our queen of the screen who’s as at 
home taming dragons as she is battling Terminators 

milia Clarke does not 
go method. To play 
the dragon-riding, 
slave-freeing, army- 
raising, warrior-badass 
queen DaenerysTargaryen 
in Game Of Thrones she 
goes gangster. 

"Yes! A lot of gangster rap before Thrones," 
she says, having met GQ in New York. "So, 
Tupac. Biggie. But then some Florence." 
When she was acting opposite Jason Momoa, 
as horse lord Drogo, she listened to Salt- 
N-Pepa's "Whatta Man" on loop. "And 
Beyonce, obviously. 1 tried Eminem once, but 
that was too much. For me it's like, you wake 
up and think. I'm not feeling particularly 
badass this morning. Coolio, Biggie, can you 
help me? When you're doing a huge scene, 
trying to empower hundreds of extras, you've 
got to get me a G." 

Apart from being a Thrones tie-in album 
waiting to happen, it does perhaps partly 
explain how this oh-so-English 28-year-old 
(smiley, silly, laughs like a maniac, talks like 
she's on a time limit) became the empow- 
ered, ball-busting leading lady Hollywood so 
sorely lacks. It's no shock she landed this sum- 
mer's plum role (and the godmother of fierce 
leading ladies everywhere) as Sarah Connor 
in Terminator Genisys. And it's probably even 

less of one that she's GQ's Woman Of The Year. 
"Oh my God, I was so happy when I was told!" 

She's arrived, incongruously enough, on 

"I know!" she laughs. "I'm Sarah Connor, 
super-badass, and I'm hobbling around on 
these!" She's been having fun making up 
reasons ("Like, it's from jumping out of a hel- 
icopter or really rowdy sex"), but the truth is 
less exciting. "I run, and it's a stress fracture. 
I was just not taking care of myself. I've got 
brittle-bone crap in my family, and I don't eat 
dairy, so I don't have enough calcium, so..." 

Running around her local Hampstead 
neighbourhood has, until now, never been 
a problem. As she sports a platinum-blonde 
wig for Thrones, the natural brunette has been 
undercover famous back home. Now, plastered 
over Terminator: Genisys posters from New 
York to London, not so much. 

"Right? It's always been funny going out 
with Kit [Harington], because he's so recog- 
nisable. We went to an FKA Twigs gig and it 
was mental. I went to the loo and in the cubicle 
on either side the girls were like, "That's Jon 
Snow out there! Don't know who that random 
girl is..." 

The last season of Game Of Thrones ended 
with Harington's Jon Snow unceremoniously 
shanked by virtually every member of the 
Night's Watch (ie, his own army). Yet he's kept 

that oh-so-recognisable Jon Snow barnet, 
leading to certain rumours... 

"Ooh, busted!" squeals Clarke, "and we've 
got the red lady... but what would she bring 
him back as? She's got to take something for 
herself. Let's just say I'm optimistic." 

Clarke, the fanboy favourite, remains 
one of the few seemingly untouchable cast 
members, not that she reads the rumours, 
having banned herself from any Thrones- 
based internet since her early nude scenes 
in series one. 

"There were a number of very public dis- 
cussions about the size of my derriere," she 
says, by way of explanation. "One article said 
it was refreshing to have such a 'healthy- 
sized' bottom on television. You hear that, 
and immediately hear, 'Tm fat!' So I just 
wanted to save myself from any future eating 
disorders that may emerge. And the comments 
were the worst! Like, 'I'm gonna tap that big 
fat ass!' Oh, God!" 

However, she has recently joined Instagram. 
"And you can't help but see the comments! 
One was just a list of all the sexual acts he 
wanted to do to me. In text speak." 

So what does she put her "strong woman" 
rep down to? Partly, she says, it's about 
showing sensitivity as well. "So it's not like, 
Tm a feminist, I wish I had a dick and every- 
thing would be better." But also: gangster rap. 


OCTOBER 2015 GQ 255 

Dress by Emilio De La 
Morena, £1,080. At 
Ring by Cartier, £25,100. 

Suit by Giorgio Armani, 

Bodysuit by Forever Giam, 

Bracelet, £7,350. Rings, 
from £1,650. All by Cartier. 

AfWARDS issue 

Opposite: Dress by Baimain, 
£7,100. Iji 

"“ 18 ™ 





★ ★ ★ CREATIVE ICON ★ ★ ★ 



The Apple Watch was the most highly anticipated 
launch of the year, and its visionary designer is 
having the time of his life 

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★ ★ ★ POLITICIAN ★ ★ ★ 

o politician reaches the heights of cabinet office without resilience, but very few turn it into 
an art form. Only three years ago, George Osborne was picking up the pieces of the 
“omnishambles” budget and trying to look cheerful as the crowd booed him at the Paralympics. 
But the chancellor was made of sterner stuff and this year was rewarded in spectacular 
fashion. As the Conservatives’ most influential strategist, he deserves much of the credit for its election 
triumph. Five years of austerity have delivered a recovery that Osborne now wants to complete. His 
hand can be seen everywhere in this government, from his 
role leading the renegotiation of Britain’s terms of EU 
membership and his official status as first secretary of state 
to Cameron’s deputy and, by implication, his preferred successor. 

Nobody plays the long game with greater skill. Who would 
bet against him? 


hen Marc Newson 
was 12, growing up in 
Australia, his grandfa- 
ther gave him a watch. 
He doesn't recall the brand - that 
didn't interest him. All he cared 
about was the little universe inside. 
"The hrst thing I did was rip it to 
pieces," he says, "much to my 
grandfather's horror." But Newson's 
interest persisted. Four decades 
later, he would find himself in 
Cupertino, California, teaming up 
with Jonathan Ive to lead develop- 
ment on the Apple Watch. With a 
top price of £12,000, it has heaved 
the £450 billion company into the 
luxury market. By the end of the 
year, it is estimated Apple will have 
sold 20 million. 

GQ's Creative Icon doesn't have 
an official job title at Apple, which 
seems apposite. It's easier to ask 
what the 51 -year-old designer 
wouldn't do. "I wouldn't design 
weapons of mass destruction," he 
offers, sitting in the kitchen of 
his central London flat. "Though I 
have just designed a gun." A luxury 
shotgun for Beretta, which joins 
an array of projects that range 
from chaises longues to Qantas 
hrst-class lounges. "I didn't study 
design so I wasn't indoctrinated 
to specialise. I hnd it difficult to 
understand designers that focus 
only on a certain thing." In fact, 
he finds it hard to understand 
much of the design that pervades 
modern life. "Most contemporary 
stuff is ill-conceived. That little 
white interface there, for instance" 
he says, gesturing to the electronic 
controls for his blinds, "That's 
just crap." 

Newson has long been close to 
Ive. Although the pair now work 
together formally, they still hnd 
room for downtime. "Though if I 
pull an all-nighter with Jonny we 
inevitably end up talking about 
work," he says. Their efforts on the 
Apple Watch have been vindicated 
by its popularity, but some still 
question its killer purpose. "It 
liberates you from your telephone. 
You can use it to read emails, say, 
answer texts or screen calls." 

Inevitably, there is speculation 
about whether Newson is the heir 
apparent to Ive. Would he take the 
job? "It's pretty clear that that's not 
going to be the case. I was brought 
in for a variety of specihc reasons 
and the goalposts haven't shifted," 
he says. "I'm a gun for hire." ® 

aso GQ OCTOBER 2015 

Photograph Full Stop Photography Grooming Amy Conley at Factory using Sisley 



XV r: \R 


Britain’s most unlikely national treasures rediscover the magic 

he rock'n'roll reunion ain't what it 
used to be. In 2015, it's normal for 
boy bands to be reinvented as rock 
gods to reassemble for the taxman- 
obliging one-off. But the return of Blur with 
The Magic Whip, their brst studio album since 
2003, is a very different comeback: both the 
most unlikely and most brilliant. 

Unlikely because no one saw their eighth 
album coming - least of all the band. "There 
was no promise, no timetable, no nothing," 
admits frontman Damon Albarn to GQ. 

And improbable because more than any other 
band in history. Blur's personnel scattered, from 
drummer Dave Rowntree (criminal lawyer), to 
bassist Alex James (cheese maker), guitarist 

Graham Coxon (visual artist, eight solo albums) 
and Damon himself (Britain's Busiest Musician). 

Yet a cancelled set of dates two years ago 
meant the band were stranded in Hong Kong 
with nothing better to do than hit the studio. 
"A spontaneous five days," says Albam, "which 
felt like it used to." Opportunity struck and the 
sessions became an album, one of their best to 
boot. A gloriously otherworldly record, it hnds 
a band once associated with a kitchen-sink 
Britishness relocated to the neon dreaminess of 
Hong Kong ("New World Towers") and the eerie- 
ness of the Korean peninsula ("Pyongyang"). 
Add some bouncing exuberance on "Go Out" 
and The Magic Whip is a triumphant record 
from GQ's Band Of The Year. 

So how does life on the road compare with 
the Britpop days of 20 years ago? "I wouldn't 
say everyone has grown up a lot, but everyone 
is more laid-back about things," says Coxon. 
"We don't feel too much under pressure." 

Albarn agrees that life with Blur right now is 
thoroughly enjoyable, but also points out that, 
although the band have had their differences, 
they were never irreconcilable. "We never 
became so big and bloated that something 
weird happened," says Albarn. "We've always 
maintained our relationship. I don't think we've 
ever really been motivated by being the biggest 
band in the world." 

Not the biggest, maybe. But the year's 
best, undoubtedly. ® 


OCTOBER 2015 GQ 263 






Waltz > 

★ ★ ★ ACTOR ★ ★ ★ 

Terry Gilliam hails the double Oscar 
winner and Spectre supervillain. 

Who else were you expecting, Mr Bond? 

hat can I say about Christoph? He's Austrian. 
He's very intelligent. He is brilliant. He is 
wonderfully opinionated and says what he 
thinks, should he choose to say anything at all. 
He can be difficult. And 1 love him. He's quite rightly playing 
the mysterious villain in the new Bond movie. Spectre. 

Try to praise him for his acting skills and he'll say: "It's 
not me. It's not the actor. It's the role. It's the part." 

1 met him backstage at the Baftas: we looked into each 
other's eyes across a crowded room and said, "We must work 
together." It was as simple as that. In The Zero Theorem 
which we made a couple of years ago, he gave one of his 
very hnest performances: a sad, complex, damaged charac- 
ter. There was nothing showy; everything was internal. 
1 followed his lead and was just blown away by his utter 
truthfulness. It was his film. He is most definitely not 
a method actor. He does his work and is highly practical, 
supportive, focused. He has learned his craft. 

He comes from a family of very talented people and he 
carries that lineage in him. He is extremely meticulous, 
charming, polite... a perfect gentleman with a great sense 
of humour, but one who doesn't suffer fools: one of the 
qualities I most admire about him. In this industry so many 
people pussyfoot around, terrihed of offending anybody, 
worrying about their career, more concerned with them- 
selves than the production. There are a lot of people of that 
kind. Christoph Waltz is not one of them. ® 





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264 GQ OCTOBER 2015 

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★ ★ COMEDIAN ★ ★ ★ 

ill Ferrell 







7 - 

There’s rH^£|uestion Will likes to go a step 
or two further. It’s kind of our style’ 


■ A- 

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t was at the first read-through 
on Saturday Night Live that 
I knew. He was a semi- 
handsome kind of guy, very 
normal; we were all joking around, up 
for beers, and he wasn't, so we hgured 
he must be the straight man. But at the 
hrst read- through, he was just destroy- 
ing it, and I was like holy crap, I didn't 
see that coming. That's why the guy 
was hired. 

He has a great bullshit detector. 
America is so saturated with marketing 
and advertising and celebrity, and he 
has a great sense for all of that bullshit. 

He got to the core of what was f * * *ed 
up about [George W] Bush - this guy 
that played well at cocktail parties but 
didn't play quite so well as the leader 
^of the wealthiest country in the world. 

His humour comes from his dad, who 
is really funny. Also, because Will's dad 
was a professional, there was no over- 
valuing of the entertainment world. 

We didn't want to do dry satire to 
make the big cities laugh, we wanted 
this stuff to play everywhere - to call 
it satire, yeah, but satire's tough. In 
America, Wag The Dog was the last 
satire that played in a big way. In the 
middle of our country and the South, 
they do not understand or enjoy satire. 

So, we wanted to do comedies that 
really make people laugh. Part of Will's 
arsenal is that he's a satirist, but in this 
country satire suggests dryness and we 
wanted to be funny. 

We all remember those moments in 
movies such as Airplane! or The Blues 
Brothers when they would go that extra 
step, that out-of-control laughter. People 
complain about Will's movies and say, 
"You guys always go two steps further 
with the joke," and I'll just say, "It's not 
for you". But other people say, "You 
guys keep going where I don't think 
you're going to go and I laugh harder." 
All we're doing is what makes us laugh, 
so there's no question Will likes to go a 
step or two further. It's kind of our style. 

He's got some stuff that he's devel- 
oping that's very different, but I'm like 
everyone else - I'm excited and curious 
to see what stuff he does next. © 
Adam McKay is the director of 
Anchorman, Step Brothers, Talladega 
Nights and The Other Guys. 



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A million-selling 
single, a Brit 
award and 70,000 
happy customers 
at Glastonbury - 
all in just two 

years. This is rr 

one troubadour 
in a hurry 

• 0 

ir ir if: BREAKTHROUGH SOLO ARTIST ir ir ir 

wo years ago James Bay was playing an open 
j I j mic night in a north London pub for no money 

V I J That evening an audience member uploaded 

one of his songs to YouTube, the video quickly 
gained the attention of Republic Records, and later that week 
Bay was flown to New York to sign his hrst record deal. Fast 
forward two years, and Bay has a platinum- selling single 
("Hold Back The River"), has just played in front of 70,000 
fans at Glastonbury, and is GQ's Breakthrough Solo Artist 
Of The Year. 

"It's quite bizarre," says the 25-year-old. "It feels like five 
minutes ago I was living at home with my parents. Before 
I knew it I was on the radio and playing the main stage at 

With model good looks. Jack White-esque style, and a 
piercing falsetto voice. Bay has quickly become the poster 
boy of British music. Instantly distinguishable due to his 
trademark wide-brimmed hat and long hair, the singer won 
Critics' Choice at this year's Brit Awards, joining Adele, Jessie 
J and Sam Smith in doing so. "It's mental to think I'm a part 
of that club," says Bay. "I can remember walking through 
the backstage of a venue in Birmingham when I got a call 
from my manager to say I'd won. I just started screaming 
down the phone." 

Bay hrst picked up the guitar at eleven years old, and 
learned to play by ear, jamming along to his dad's record 
collection. Seven years later he moved to Brighton to study 
music at the British And Irish Modern Music Institute, grad- 
uating the same year as fellow singer-songwriter Tom Odell. 

Looking forward. Bay wants to stick to his guns in the 
music world, playing to bigger audiences, in bigger venues, 
all across the world. But the one thing that may change is 
his trademark fedora. "I won't wear the hat forever," he 
laughs. "It is just a hat after all." © 






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His big break in America may have been a happy accident 
but his show’s success has been no fluke. 
Britain’s favourite funnyman is our new king of the Hiils 

^ Angeles, the 

I I day after David Letterman has fin-, 
t I J ished his hnal talk show after 6,028 
episodes, 33 years and almost 20,000 
guests. James Corden is sitting in his office at 
CBS's sprawling The Late Late Show complex, 
fresh from a smoke, and contemplating how he 
might snatch failure from the jaws of success. 

When we meet, Corden has made only 34 
shows in his new gig - host of said show which 
follows Letterman - but already it's been deemed 
a smash hit. This is not how it's supposed to work 
- not least for a British comedy actor whose only 
previous experience in hosting a TV programme 
was Sky One panel show A League Of Their Own, 
and who was known in the US mostly, if at all, as 
the guy from One Man, Two Guvnors. As Corden 
himself says: "Jimmy Kimmel sent me an email 
saying he was bad, for two years." 

CNN called his hrst appearance the great- 
est debut of any late-night host in recent 
history. The skits, like Carpool Karaoke (simply: 
Corden, in a car, singing with a celebrity) have 
gone viral. A Mariah Carey one got more than 
ten million views. A Justin Bieber one, more than 
30 million. @ 



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@ The week before we meet, the show had 23 
million mentions on Twitter, and, in total, more 
than 70 million had viewed YouTube videos 
of the show - meaning more in 34 shows, 
Corden points out, than in the previous host's 
decade-long reign. 

All of which, naturally, makes Corden GQ's 
undoubted TV Personality Of The Year - "It's 
amazing! It's actually all I've ever dreamt of!" 

Yet he's nervous, because winter is coming - 
in the form of summer. In the switch between 
David Letterman and his successor Stephen 
Colbert, there's a 15 -week gap, meaning their 
lead-in is no longer the most iconic talk show 
on TV, but, from tonight, re-runs of (now 
cancelled) crime drama The Mentalist. 

"It's absurd! Our ratings are going to fall off 
a cliff. And I just know the Guardian or the 
Daily Mail are going to write a piece about how 
the ratings are awful. It's such an open goal." 

Still, Corden acknowledges, these are 
high-class problems. Not least because getting 
the job in the hrst place was one big accident. 
He was in New York, taking TV meetings about 
a sitcom he'd written. All the networks wanted 
it - CBS offered the most money - but he'd 

CNN called Corden’s 
first Late Late Show 
the greatest debut 
of any late-night host 
in recent history 

decided to take up HBO's offer. So CBS asked 
to meet him again. One informal chat later, 
which saw Corden tell them the new Late 
Late Show "should just try to bring in a young 
audience, and embrace the internet", and by 
the time he was on the pavement outside, his 
agent had called and offered him a job he'd 
unwittingly just auditioned for. 

The clues to Cordon's burgeoning success 
sit all around him. There's the picture of 
Tom Hanks, behind him, who took part in a 
blue-screen skit that ran through Hanks' entire 
career on the hrst episode, and kick-started 
what Corden wanted the show to be: if The 
Late Show, hlmed in New York, was the formal 
event of the evening, this, airing at 12.37am, 
was the laid-back afterparty. Hence: a smaller, 
cosier studio, silly skits, a bar on stage, all the 
guests out at the same time (a hrst for US TV); 
Corden as party host rather than interrogator. 

Put another way: "It's not so much playing 
to my strengths, as hiding my weaknesses." 

He's had support from fellow hosts - of 
a sort. In the next room, there's a fussball 
table, made bespoke with West Ham colours 
(Corden's team), sent by Jimmy Fallon with 

a note that read: "Welcome to the Premier 
League". Jimmy Kimmel also sent a gift and 
a note. It read: "Welcome to hell". A bottle 
of champagne sits on a shelf, a gift from Jay 
Leno, who turned up unannounced on the 
hrst show. It also carried a note. It also read: 
"Welcome to hell". 

"I actually don't even know how tired I am 
right now," says Corden. 

Still, he says, the excitement of a daily show 
is infectious. He was lying on the very sofa on 
which I sit, "trying to have a nap", when he 
had the Hanks idea. Yesterday, at midday, his 
producer Ben Winston (also his best friend) 
had the idea to throw watermelons off the 
CBS roof, in homage to Letterman, "and then 
someone had to go out, buy 20 watermelons, 
build a thing that we can tip off the roof... it's 
crazy, but that's the show." 

Even the issue of the inevitable ratings 
decline in the summer, he says, will have 
an upside. 

"It means we can experiment," he says. He 
wants to take the entire show - complete 
with audience - to Vegas. Over three days. 
(One show would take place on the bus.) "But 
I don't know if that'll come off!" he adds. 

"Historically," he says, "these shows start 
bad and get better. So I'm excited to see where 
we are in a year. That gets the hre in my belly. 
Like, we're making a proper show on American 
TV. If I could tell my 12 -year-old self that this 
would be my life right now, his head would 
explode. I'm an idiot and I just get to be an 
idiot every night." 

ir ir ir BREAKTHROUGH DESIGNER ir ir ir 

Christopher Raehurn 

© hristopher Raeburn is one of the outstanding designers at London 

Collections Men - not least because, at 6ft Sin, he literally stands above many 
of his peers. He is also one of the most respected of the new generation 
of British menswear designers and has won an international reputation. 

The 33-year-old launched his label in 2008 and since then has always been 
associated with ethical fashion. In 2010 he was showcased in American Vogue under 
the banner “Remember the four Rs - reduce, reuse, recycle and Raeburn” and one of 
his earliest collections, “Remade in England”, featured a series of bombers and parkas 
created from reused parachute silk. He describes the typical Raeburn piece as being 
a “mix of archaeology and new technology”. 

Raeburn’s most recent collection makes full use of this “remade” ethos with a bomber 
jacket and a parka made from an orange recycled inflatable life raft. “Soon you will be 
able to buy a jacket and when you no longer want it, you can send it back and it will 
be stripped of all of its pieces, the zips and buttons re-used and then the fabric will 
be mulched down into something else,” he says. 

But Raeburn is not all about misty-eyed idealism. He is also artistic director of 
Swiss Army knife makers Victorinox. Perhaps unsurprisingly, his favourite piece from 
his first project for the label was a cocoon blouson that was made from an old Swiss 
Army sleeping bag. 


Jacket and bag by Christopher Raeburn, fronn the SS16 collection, Shirt, £145. Trousers (part of a suit), £895. Both by Gieves & Hawkes. Bow tie by Boss, £59. Shoes by Nike, £70. 

272 GQ OCTOBER 2015 

Grooming Amy Conley using Sisley 


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★ ★ ★ ICON ★ ★ ★ 

Lionel Rieliie 

Salute the Commodore who makes 40 years of unbroken success look easy 

he most extraordinary thing 
about Lionel Richie's year - a 
festival-stealing Glastonbury set, 
a Not album (his first in 23 
years), and a rollicking GQ interview in 
which he came close to revealing his Mick 
Jagger-beating bed-notch count - is that it 
has taken us so long to rediscover his God- 
like talents. 

After all, Richie's Commodores - six hne 
young gentlemen in spandex jumpsuits who 
defied US segregation laws and the 
death-sentence of the Vietnam draft to bring 
us the ecstatic funk of "Machine Gun" and 
"Brick House" - were up there with the 

most exciting and influential bands of 
the Seventies. 

There can also be no disagreement that 
"Easy", with its morning-after piano riff and 
that euphoric yelp of freedom before the 
guitar solo - the guitar solo! - is one of the 
greatest four minutes and 15 seconds of pop 
ever written. As for Richie's all-conquering 
hits of the Eighties - "All Night Long", "Stuck 
On You", "Hello", "Dancing On The Ceiling" 
- it is a testament to their enduring genius 
that they can now be appreciated without 
any hint of irony, in spite of their association 
with some of the most unintentionally hilari- 
ous music videos of the era. 

Which brings us to the man himself. Having 
spent several hours with Richie at his 
Venetian-style love palace in Beverly Hills, 
GQ can state that if there is a more charming 
man alive today, we would be very surprised. 
Eunny clever, self-deprecating and, most of 
all, honest to a fault, he is the subject that 
every interviewer hopes to one day meet. 
The man looks somehow younger and health- 
ier than he did when sporting his magnificent 
wet-perm mullet circa 1984 - and he was in 
pretty good shape back then. Eor all these 
reasons and more, we raise a salute to the 
Lord of Eunk, the Commodore of Love, and 
now our 2015 Icon Of The Year. ® 


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Tom Ford 

★ ★ WRITER ★ ★ 


The real star of HBO’s True Detective? It’s the creative visionary giving both 
Matthew McConaughey and Vince Vaughn the finest lines in Hoilywood 

' 'v ic Pizzolatto was doing just fine. 

'i He was a husband and a father. 
J He was a published author, with 
a pleasantly received novel and 
several short stories in the bag. He was an English 
professor at a well-regarded university in Indiana. 

But he wasn't doing what he felt he should be 
doing. So he did something about it. 

"I was looking for ways to change my life 
and change my family's life," he says, from his 
"pretty spartan" office in Los Angeles. "And it 
seemed to me this was the moment I was waiting 
34 years for, and I wanted to jump on it and give 
it my very best shot." 

Pizzolatto wanted to write for television. Five 
years ago, he didn't have a single TV credit to his 
name. Two years after that - after "the moment" 

he met and took advice from two Hollywood 
agents - Nic Pizzolatto was the sole writer, creator 
and showrunner of a drama he hoped, at best, 
would hnd a "cult audience". 

It did a little better than that. 

True Detective was an immediate breakout hit 
for HBO. The brooding, subtle, melancholy story 
of two Louisiana detectives on the hunt for a 
serial killer had attracted serious attention at 
script stage from one star in particular: Matthew 
McConaughey, an actor then on the brink of a 
renaissance that would go on to establish him 
as one of the biggest movie stars on the planet. 

McConaughey made a strong play for the role 
of Rustin Cohle - a gifted but haunted detective 
transferred from Texas to investigate a series of 
bizarre murders. He in turn asked for Woody @ 

276 GQ OCTOBER 2015 

Grooming Sydney Zibrak 

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(>) Harrelson to play alongside him in a show 
where the writing became as much the star as 
the stars themselves. It wasn't quite like any- 
thing else on TV, with its long, tension-building 
monologues; noir-ish philosophising; and brutal 
one-liners from characters richer and more 
complex than anyone had been expecting. 

Awards, acclaim and audiences followed. 
And all because Pizzolatto decided to take 
that risk and move his family from Indiana to 
Southern California in a mid-thirties attempt 
at chasing a dream. 

So what did he have that the thousands of 
other talented people who make a similar move 
each year didn't? 

"The thing I had," he says, "was six scripts. 
Six TV scripts. I think it was a function of... you 
could call it determination; I think of it more 
as desperation. That's what got me meetings." 

It was his literary agents who told him that if 
he wanted to write scripts for TV, then he had 
to sit down and actually write scripts for TV. 
A calling card. "So I wrote six scripts in about 
six weeks in the summer of 2010." 

The weeks of fevered writing paid off, 
because one of the scripts was the True 
Detective pilot. It scored him a meeting at HBO, 
in which he made a bold move. He said if they 

wanted the show, then he had to be in charge. 
This man, who'd never run a show or written a 
series before, wanted full creative control. "This 
was mine," he explains, simply. "My show. I was 
never going to sell it if someone else was going 
to be in charge. I would have just turned it into 
a movie or a novel or something." 

HBO thought about it. Then agreed. Part of 
that was undoubtedly because Pizzolatto had 
done what the best writers do: he knew his 
show. He knew his characters. He knew their 
story. He knew their worlds, inside out and 
outside in. ("Anybody can speak well for 15 
minutes," he says, "but after those 15 minutes 
you [had] better know what you're doing, or 
it's going to be glaringly obvious.") 

The hrst season garnered 12 Emmy nom- 
inations. Pizzolatto was soon described by 
industry website Deadline Hollywood as "the 
talk of the town". HBO signed him up for 
another two years. A second season of True 
Detective brought more heavyweight movie- 
star power, with Colin Farrell, Vince Vaughn, 
Kelly Reilly and Rachel McAdams starring, 
and McConaughey and Harrelson staying on 
as executive producers. Was it heartening that 
the latter pair wanted to stay close? 

"Every actor I've worked with - we're still 
close. I tend to have close relationships with 
the actors because character is what carries 
everything. We tend to have very long and 
very involved discussions about character." 

It shows. Pizzolatto writes a detailed per- 
sonality analysis for each character before 
he gives them a word to say. Characters like 
McConaughey's Cohle or Harrelson's Martin 
Hart become real to him, with souls he knows 

‘True Detective was 
mine, i was never 
going to seii it if 
someone eise was 
going to be in charge’ 

every blistered inch of. That's the moment he 
knows he's close to something interesting. 

"It's a rush," he says, a smile in his voice. "It's 
one of the few pleasures of those early stages 
of writing, [although] you don't know a char- 
acter until they're walking around and talking. 
That's when a sense of life comes into it for me. 
That's really thrilling for me." 

But, I ask, does he ever lose faith when he's 
writing? Does he ever think, maybe two-thirds 
of the way through, "This is rubbish!"? 

"Yes. Absolutely. All the time. But you just 
go back to the work. You try and see it with 
clear eyes. Sometimes you've got to throw it 
away, cut bait and move on. It's easier to lose 
it than to continue working from a place of no 
conhdence. I don't even think I could do that." 

He's an adaptable writer, then, constantly 
present on set, adding and editing lines even 
as they him. He moved to LA with nothing 
but ideas and he's turned them into a work 
that takes its place alongside The Wire, The 
Sopranos, Breaking Bad and all the other shows 
that strode conhdently into our cultural lives 
and demanded our attention. 

He lives and breathes the worlds he creates 
and shows us that characters don't have to be 
likeable... to be likeable. 

27a GQ OCTOBER 2015 



★ ★ ★ DESIGNER ★ ★ ★ 

s it is considered one of the biggest jobs in the business, there were 
raised eyebrows when the relatively unknown (for Paris) Kim Jones was 
made style director of Louis Vuitton in 2011. But he soon silenced the 
doubters. Writing about his first collection for Vuitton, Suzy Menkes, the 
International Fashion Editor of Vogue worldwide, said, “It is rare to see a designer 
step so perfectly into new shoes. But this debut collection could not be faulted.” 

Since then, Jones has established himself as one of the most exciting designers 
in Paris, having prints designed by artists such as Jake and Dinos Chapman, and 
taking inspiration from photographers such as Peter Beard, Masai warriors in Kenya 
and snow leopards in Bhutan. He is GQ’s Designer Of The Year. 

The Central Saint Martin’s graduate’s shows have become huge A-list events. 
This June saw the models walk to soundtrack created by Nile Rodgers. 

Sometimes it seems as if the audience’s eyes are on everything but the clothes, 
but these are clothes that demand attention. Jones can take a simple blouson 
and turn it into the epitome of luxury in butter-soft croc. His clothes would seem 
to demand a special occasion but need no excuse to be worn every day - quite 
simply the man’s perfect wardrobe. ® 


Jacket, £3,200. Shirt, £475. Bow tie, £110. Mini bag, £1,040. Bag £1,250. All by Louis Vuitton. 




•Tflf JOKW it 


©2015 Hard Rock International (USA), Inc. All rights reserved. 






Available at high quality retail stores throughout the UK. 

For further details visit or contact Burton McCall Ltd 
Tel: +44 (0) 116 234 4656 / email: 


styling assistant Amber Simiriglia Grooming Amy Komorowski at Art Department 





★ ★ ★ LEADING MAN ★ ★ ★ 



Small superhero. Huge star. The comedy everyman has been transformed... 

ron Man, Captain America, Thor - 
sure, good guys all, great at that 
saving-the-world thing, but less 
good on, you know, having a sense 
of humour about it. Granted, Robert Downey 
Jr is always ready with an Iron Man quip, but 
we all know the proper laughs only come from 
the downtrodden. 

So it was no shock that summer blockbuster 
Ant-Man was the funniest him to come off the 
Marvel superhero conveyor belt. And it was 
even less of a shock that Paul Rudd was the 
star. No worlds were saved from alien invasion, 
but that was the point: as a superhero who can 
shrink (with super strength, naturally) he was 
the one who could literally be trodden upon. 

"That was what 1 loved about it," says Rudd, 
GQ's Leading Man Of The Year. "It's a 
superhero action movie, but all the action 
would take place on table tops and toy train 
sets and carpets." 

And Rudd, 46, was the perfect choice - an 
actor with a leading-man Prince Charming jaw, 
but the comic sensibility (honed over huge Judd 
Apatow hits from Anchorman to This Is 40) of 
the schlubby everyman. 

It's a unique mix that he's also brought to bear 
on Netflix's Wet Hot American Summer: First 
Day Of Camp, which pulled together the 
unlikely all-star cast of the cult 2001 original 
(everyone from Amy Poehler to Bradley Cooper) 
and turned it into the comedy event of the year. 

"The original was the most fun I've had on 
anything ever," says Rudd. "We were actually 
there shooting it - it was like being at camp. 
Whoever wasn't hlming that day had to do the 
half-hour beer run to the local store, and every 
night we would have a party." 

Now, of course, Rudd's schedule is a little 
more packed. So much so that he's not entirely 
sure, he says, how many Marvel hlms he's 
signed up for. 

"1 probably should know, shouldn't 1? I'll hnd 
out. 1 know it's a few. Like, they started Captain 
America 3 and said, 'You're written into this', 
and 1 was thrilled! But also: contracted. Let's 
just say, if they want to make an Ant-Man 
sequel, 1 think Tm signed up." © 


Suit, £2,040. Shirt, £250. Both by Givenchy by Riccardo Tisci. Bow tie by Balenciaga, £125. Pocket square by Boss, £35. 

OCTOBER 2015 00 281 

‘People don’t 
know me. 

I am there 
to win matches 
I am not there 
to be nice 
or smiie 
at peopie’ 




M 1^] \R 





■k -k -k EDITOR’S SPECIAL AWARD -k -k 

What do you give the man who’s won everything? 

GO honours footbali’s uitimate ‘speciaiist in success’ with another trophy. 

He would expect nothing less... 

ose Mourinho. One of the few names in football that cuts through to just 
about everyone, everywhere. Partly it is the good looks and that certain 
style that foreign managers tend to have in greater abundance than their 
home-grown opponents. But mainly it is because the guy is a winner. When 
I wrote Winners And How They Succeed last year, Mourinho was up there 
with the never-lost-a-pro-hght boxer Floyd Mayweather as the sporting 
winner I most wanted to talk to. He is one of a small number among the 
dozens I interviewed to get their own chapter - as a master strategist, the 
talent and the sheer special-ness of the man who dubbed himself "a special one", which over 
time has come to be translated by others as "the special one". His record suggests there can be 
no argument about either label. At every club he has worked, he has won. At Porto, he took a 
group of little-known players in one of Europe's weaker leagues and turned them into European 
Champions. At Chelsea and Internazionale (places and jobs he loved), as well as at Real Madrid 
(a place and a job he did not), he further established himself as a winner to go down with the 
greats in all of those countries. In 15 years as a manager he has won 22 trophies. 

As Gazza pointed out in August's GQ, Mourinho 's Chelsea Mark 1 delivered the most success- 
ful period in their history. Then he left, the glamour subsided and, domestically at least, things 
went into a bit of a lull. He returned and won the Premier League title in his second season back. 

When we spoke, Mourinho was busy planning his assault on the next title and the Champions 
League, with an attention to detail that is awesome to behold. 

He is not the warmest of men. But as you will see, he is incredibly open in his answers and 
insightful about every aspect of the game. And, as he tells me, his job is not to be liked or to 
be popular or to make people laugh. It is to win football matches and win titles. At that, he is 
the master, and a worthy winner of yet another award, the GQ Editor's Special Award for 2015. 

Three-piece suit, £1,900. 

Shirt, £450. Both by 

Dolce &Gabbana. 

Bow tie by Chester Barrie, 



AC: Can you go anywhere in the world 
where people don't know you? 

JM: No, impossible. I was on holiday, on 
safari in Kenya, we stayed in a bungalow, no 
TV, nothing. It was at the time of the World 
Cup in South Africa. I was in the middle of 
the famous tribe, the Masai, and I notice 
they were building a receptor for me to see 
the World Cup, because it was me. But I 
didn't want to see it; I was taking a break. 

AC: In Sydney recently, you had 83,000 
people out for a friendly 
JM: But that I get. I tell the players all the 
time, in these places where people are mad 
about football, but they don't have the best 
players or teams, when you go there, to Asia, 
America, Australia, you owe them that. 

AC: Which is the best league in the world? 
JM: For me, league means competition, 
unpredictability. It means every game is 
mentally difficult for all players and all 
coaches, and as one of the few who have 
managed in the best leagues, I can say this 
is the Premier League. 

AC: What about Germany? 

JM: No way. A league where Bayern Munich 
is king and not just king but even if they 
slip a little they come back better. 

AC: Don't you think a mid-table Spanish 
club versus a bottom-of-the-table Spanish 
club is better than the same in England? 
JM: No. The gap between the top and the rest 
is huge in Spain. Barcelona and Real Madrid 
are dominant; once every 20 years (>) 

OCTOBER 2015 GQ 283 

® Atletico Madrid or Valencia win a title, but 
out of context. I was champion there with 
100 points and lost it with 92. 

AC: Where have you been happiest 

JM: England and Italy. I did not enjoy Spain. 

AC: Why not? 

JM: Different factors. I like living in England 
because to be famous here means less. OK, 
people recognise you, but if you are working, 
or you are with your family, they respect 
that. That is nice. Also, the meaning of 
"enemy on the pitch but not enemy after 
90 minutes" - this is the place where this 
concept is best understood. Eor 90 minutes 
you give everything to destroy the opponent, 
but before and after... 

AC: But you also try to destroy 
opponents before... 

JM: No. 

AC: Yes. 

JM: No. I try to prepare myself and my 
people, get the ideal state of mind, analyse 
what we need. 

AC: But when you come up with 
something like calling Arsene Wenger a 
"specialist in failure", is that because you 
have been provoked or you are provoking? 

JM: Some managers, they are specialists - 
not in failure, that is not a nice word - they 
are specialists in control, controlling people's 
perception of things. When you push 
someone in the technical area, where you're 
not supposed to put even one foot in, and 
there is not even an inquiry, and you still 
say that you did nothing wrong, you are 
a specialist in control, not failure. 

AC: But you are great at control. 

JM: I am the manager who controls the least. 

I control training, team selection, decisions 
during the game; this is what I control. If I 
push someone in the technical area, I get a 
ban, maybe not life, but a season. One of 
my assistants, for less than that [a push in 
the technical area] he was stadium banned. 
AC: Rui Faria? 

JM: Yes, six matches. If I push someone I 
am banned, for sure. Even if I say nice things 
about a referee, there is a process against me 
- you cannot say positive things. But other 
people, very intelligent, they control it. 

AC: But you, Wenger, Sir Alex Ferguson, 
top managers all give the impression you 
are under attack. You all think the same. 
JM: This is not "think"; this is fact. 

AC: Do you read the papers? 

JM: No. I get a report from Steve [Atkins, 
Chelsea's head of communications and public 
affairs] on the headlines. If there's something 
I need to read, I will, but mostly not. 

AC: There are newspapers at most training 
grounds. Do you have them at Chelsea's 
training ground at Cobham? 

JM: No, I don't want the papers there. 

AC: What about Sky Sports News, are 
the players watching that? 

JM: Sometimes, yes. 

AC: Do you think managers are expected 
to do too much media? 

JM: I don't think so, no. It is a consequence 
of the money. If you want big money from 
TV and sponsors you must give back. I don't 
like the interviews we have to do half an 
hour before the match. I really don't want 
to be asked why I am playing this player, 
not that one. But I understand. 

AC: What about after the game if you 
are emotional? 

JM: We must give. We cannot just say, 

"Give me the money and I give you nothing." 
AC: Do you think the money in football 
is sustainable? Can it just keep going up? 
JM: We get incredible salaries, but when 
I say "we" I mean the top managers and 
players in the top countries. There are some 
players in the Portugese Premier League who 
do not get paid for months. I think in football 
there are many people who make more than 
us. The money should be for the players 
and the managers and for the referees and 
the ones directly involved in the game. 

AC: Should referees be paid more? 

JM: Yes. It is a big responsibility. They need 

‘What do I think 
about Fifa? 

I think we don’t 
even know ten per 
cent of the story’ 

to rest, prepare themselves to the same 
levels as we coaches and players. Not just 
the refs, the linesmen, the assistants, they 
are important jobs and should be paid more. 

AC: When I interviewed you for the 
book, you said you like rugby because the 
players are tough and they don't cheat or 
feign injury. Another difference is the refs 
have a microphone and there is no abuse. 
Should football not have the same? 

JM: Yes, I think so. 

AC: Have you had players who cheat? 

JM: Yes. 

AC: What is cheating in football? 

JM: Cheating is to try to get a red card for 
a player that did nothing to you. A player 
touches me on the shoulder and I dive 
with my hands on my face. 

AC: What if one of yours does that? 

JM: I kill them. 

AC: But Didier Drogba was always falling 
over rolling around like he had been shot. 

JM: Maybe the hrst year but after that he 
proved himself a top, honest guy. 

AC: Who is your best ever player? 

JM: I refuse to answer. I will never answer it, 
never. Like my best eleven over my 15-year 
career I refuse, also because I cannot choose 
- choose between Drogba, [Diego] Milito, 
[Zlatan] Ibrahimovic. I cannot 
choose between [Erank] Lampard, 

[Dejan] Stankovic, Costinha, I cannot. 

AC: But at home with your son [Jose Jr] 
have you ever got out a pen and paper 
and done your best eleven? 

JM: Yes. But even then I cannot decide. We 
end with two or three teams. I don't tell you 
publicly who they are because I feel it is a 
lack of respect for all my players. 

AC: How many players are always in 
there? Three, four, hve? 

JM: Not even that. It changes. 

AC: John Terry surely? 

JM: John Terry? But what about [Marco] 
Materazzi, [Walter] Samuel, Lucio? What 
about [Ricardo] Carvalho? He was 
champion for me at Porto, Chelsea, Real 
Madrid. Goalkeeper - Petr Cech amazing, 
now Thibaut Courtois, amazing. It is 
impossible to do this. 

AC: Do you have individual strategies to 
manage the personality of each player? 

JM: No, well yes, but the start of everything 
is a collective strategy that nobody is more 
important than anyone else. 

AC: Including you? 

JM: Yes. If the bus has to leave at eight and 
I am not there, the bus goes without me. If 
Eden Hazard is not there, he is Player Of The 
Year, we do not wait. If you are late, you go 
by taxi. The club's more important than all of 
us. We are all the same, the best player, the 
best paid, whatever your status, John Terry, 
20 years at the club, you cannot be late. 

AC: If [owner] Roman Abramovich 
wanted to be on the bus and was late? 

JM: The same. Everything is open to 
Mr Abramovich, even my team talk, but 
if the tactical meeting is at 10 o'clock, 
the door closes; nobody comes in late. 

AC: Which is the more important, the 
team talk before or during the game? 

JM: The most difficult is during the game. 
Before a game you can prepare. Half-time, 
decisions around the game, this all belongs to 
you, right then. Before, there is not so much 
pressure; during, there is pressure. During 
the game is what many writers write about 
as emotional intelligence, and many times 
I feel pure instinct. 

AC: Can you recall a half-time talk that 
has turned a game? 

JM: Chelsea 0 Tottenham 3, result 3-3, and 
we won the replay at Spurs; the year we 
won the [EA] Cup hnal versus Manchester 
United [2007]. 

AC: What did you do? 

Continued on page 326 

2S4 GQ OCTOBER 2015 

Grooming Lee Machin at Caren using Tigi Bed Head and Sisley Paris 

would like to manage 
at a World Cup with 
Portugai, and if I 
cannot, then England' 


Three-piece suit, £1,900. 

Shirt, £450. Both by Dolce 
& Gabbana. dolcegabbana. 
com. Bow tie by Chester 
Barrie, £50. 
Shoes by Christian Louboutin, 
Pocket square by Chester 
Barrie, £55. 



‘The sheer amount 
of of fort it has 
taken for me to 
not lose my head 

- to not go crazy 

- has been hard’ 

Coat by Ermenegildo 
Zegna Couture, £2,880. Jacket by 
Alexander McQueen, 

£1,230. alexander Shirt by 

Ralph Lauren Purple 
Label, £255. ralphlauren. 
com. Bow tie by Lanvin, 
' £80. Trousers 

by Burberry Prorsum, 
Shoes by Hermes, 
Socks by The London 
r Sock Company, £12. 

com. Earrings, Sam’s own 

aae gq October 2015 

8am 8mitli 


Four Grammys this year 
just confirmed what we 
aiready knew - that the 
world has fallen in 
love with the bittersweet 
blue-eyed soul of this 
British musical prodigy 








u ltr a FREM I U M 

am Smith wears melancholy as though it were a 
shroud, carrying it with him like a coat, keeping 
happiness successfully at bay Wearing your heart on 
your sleeve is a much-used ruse in pop, yet Smith's own 
brand of power balladry has been embraced not just by 
the eight million people who bought his debut album In The 
Lonely Hour, but also by the millions who have seen him perform 
since its release in May last year. 

Smith came to prominence as the voice on Disclosure's "Latch" in 2012 and then 
Naughty Boy's "La La La" a year later, both of which he co-wrote. Then all of a sudden 
he was everywhere, producing the kind of radio-friendly ballads - "Lay Me Down", 
"I'm Not The Only One", "Stay With Me" - that appeared to appeal to every demo- 
graphic, every postcode. Smith was the gay troubadour with the rockabilly haircut 
("1 came out when 1 came out of my mum!"). He was the troubled balladeer standing 
forlornly at the end of Lonesome Street. He also had something of an extraordinary 
voice, a big, powerful, entrancing and rather feminine voice (when Disclosure hrst 
heard a recording of Smith's voice, they thought it was a woman). Torch songs can 
only work when they are interpreted by singers who can actually sing, and if there's 
one thing that Sam Smith was always very, very good at, it was singing. 

Encouraged by his parents, he started singing at the age of eight, and started 
singing lessons two years later. Having become obsessed 
with mid-20th-century crooners, he chose Frank Sinatra's 
"Come Fly With Me" for his hrst lesson. Inheriting his 
mother's ambitious nature - working her way up from bank 
clerk to City trader - Smith honed his voice until it started 
doing what he wanted it to, and forced himself to learn to 
perform in public. "I love performing now, but I used to hate 
it before," he says, sitting on the sofa in my office in Vogue 
House. "I used to do musical theatre as a kid and I found 
it easier to play a character. I used to hate singing as "me" 
because I didn't have a lot to talk about and I didn't think 

I was very funny on stage, but now I hnd real comfort and ease with performing, 
except when I lose my voice." 

In April this year, while he was in Australia touring In The Lonely Hour, Smith sud- 
denly found himself unable to sing. His beautiful instrument broke in a heartbeat. 

"Now, technically I sing in exactly the right way - 1 just sing very high for a guy 
and every single song of mine is insanely demanding. So throughout the year of 
touring In The Lonely Hour, there would be days where I was struggling here and 
there and I would have to rest. I was put on steroids a lot from doctors in America, 
which isn't great for you, but I was getting through it. Then I got to Australia and 
my hrst show in Sydney and I was on stage and I felt something... it wasn't a pop 
or a click or anything substantial. Something in my body was telling me: enough 
now, you need to take the bull by the horns and go and tell the team to stop and 
we need to get this fully checked out and heal and then come back making sure 
that I am absolutely hne." 

By chance, that night Adele's manager, Jonathan Dickins, was backstage, and, 
having witnessed something similar with his own client, suggested Smith see Dr 
Steven Zeitel in Boston. Immediately. So Smith and his team promptly hew to the US. 

"He is a genius," says Smith. "He made Julie Andrews speak again, he worked 
on [Aerosmith's] Steven Tyler. He invented this laser machine, which is the reason 
I've got my voice back. My problem was overuse, and all the blood vessels on my 
vocal cord were just a bit red and were bursting every now and again so he had to 
just laser them off. I had three weeks where I couldn't speak, which was torture! 
My body had started to tell me to slow down anyway. Around the time of the 
Grammys I started itching all over my body uncontrollably with no explanation 
but just from pure stress. So in a way I was grateful, but missing the shows abso- 
lutely kills me, I can't say sorry enough. It's still going on though, and I am still 

‘I used to hate 
singing as “me”, 
but now i find reai 
comfort and ease 
with performing’ 

seeing a vocal therapist. I've just got to take 
care of myself." 

Only a few years ago he was squeezing as 
much as he could out of every day, or, as he 
says himself, every wasted day. He would 
practise, hustle, practise, hustle, and hook up 
with any manager who seemed as though he 
could develop him. But nothing worked. Then, 
when his parents split up when he was 18, he 
moved to London from Bishop's Stortford in 
a bid to hnally hnd fame and fortune. Or, as 
actually happened, cleaning toilets in a City 
bar. He eventually became a barman, all the 
time trying to hustle a break in the music 
industry, trying to hnd a manager who under- 
stood how to sell his plaintive teenage blue- 
eyed soul. He ended up writing a self-pitying 
song called "Little Sailor", about a boy who 
dreamed of a career in music and was getting 
nowhere. At the same time he gave himself a 
year to make it. 

Then suddenly he did, hrst with Disclosure, 
then with Naughty Boy, and hnally just with 
himself. When "Stay With Me", the breakout 
single from In The Lonely Hour, started gaining 
traction in every market it appeared. Smith 
started getting traction too. Traction, then 
sales, and, quite quickly, awards: six Mobos, 
three Brits, one American Music Award, 
one Young Hollywood 
Award, four Grammys, 
three Billboard Music 
Awards and One 
Black Entertainment 
Television Award. And 
now a GQ Men Of The 
Year Award. 

In the space of a year. 
Smith went from being 
patronised to feted. Not 
that his "journey" hasn't had its fair share of 
issues. One of the big Sam Smith stories this 
year has been his extraordinary weight loss. 
Since a teen he has been a big, tall boy, and his 
size was obviously something that was taken 
into keen consideration when he was starting 
to be marketed. The reasoning at his record 
company appeared to be: if Adele can achieve 
global scale by having a big voice in a big body, 
then perhaps the same thing could work for 
Smith. Not that there was anything they could 
do about it until he decided to do something 
about it himself. Personally speaking, I had 
no idea Smith was considered to be "big" until 
he started talking about his size earlier in the 
year; frankly I hnd it rather reductive that any 
male pop star who doesn't look like Calvin 
Harris is thought to be overweight. 

"I saw a picture of me on New Year's Eve, 
topless on a beach in Sydney and it made me 
want to kill myself. I just thought I was huge. 
I've had massive issues with my weight since 
I was a kid. My dad became a htness trainer 
when I was 12 and he tried to help me, but 
I've always had issues. It's not that I eat badly; 
it's my body type. I will eat a piece of bread 

2Sa GQ OCTOBER 2015 

and just explode. So I was put in contact 
with Amelia Freer, the dietician who got Boy 
George to lose all his weight. It's a lifestyle 
change, not a diet. It's accepting this is going 
to be an issue forever and there are going to 
be dips, so you need to harness it. It's really 
tough. The reality is 1 can do it now because 
1 have a little bit more money, and that's the 
sad thing. It's impossible to eat healthily if 
you don't have any money. Bread is the killer, 
along with dairy. The key is fasting for hve 
hours in between each meal, when you just 
drink water. As for alcohol 1 am allowed vodka 
with sparkling water." 

As Smith travelled the world to promote In 
The Lonely Hour, he was picking up awards as 
though they were stamps on his passport. A 
Brit here, some Grammys there, a plaudit for 
every day of the week. But as the tsunami of 
acclaim kept coming, there was another story 
that dominated the press, the plagiarism issue. 
In January he agreed to pay the storied rocker 
Tom Petty royalties because of the apparent 
similarity between "Stay With Me" and Petty's 
1989 song "1 Won't Back Down". 

Not only does Smith not think the judge- 
ment was fair, he feels seriously aggrieved by 
the decision. 

"It's never going to be fair to me because 1 
sat in a room with two guys and wrote a song. 
One guy played some beautiful chords and 1 
started singing and wrote a song about a one- 
night stand. That is genuinely how it was. 1 am 
23 years old - Tom Petty's song came out way 
before 1 was born and still to this day - people 
don't know this - 1 actually haven't listened 
to the song. 1 refuse to listen to it. Even now 
1 won't listen to it. There are only so many 
notes on a piano... We were just really unfor- 
tunate that it happened, but there was no bad 
intention. Tom Petty wrote me a really nice 
letter, which 1 thought was really kind, but 1 
am never going to be happy about it as it's still 
my song to me." 

It would be easy with other artists to listen 
to In the Lonely Hour and think that it was 
deliberately constructed as a concept album, 
a collection of heartbreaking torch songs 
orchestrated to appeal to aching teenage 
hearts and the older generation of CD buyers 
who perhaps long for the blue- and-brown- 
eyed soul of Simply Red, Luther Vandross 
or indeed Adele. Yet it should be clear from 
only a cursory listen to Smith's songs that 
these are genuine, guileless voices from the 
heart. The honesty shines though. After all, 
more than eight million people have bought 
In The Lonely Hour (let alone all of those who 
have presumably stolen it from the internet) 
and you don't connect with that number of 
people without communicating something of 
worth and integrity. 

So what's he going to do now for inspira- 
tion, travel the world in the hope of getting 
his heart broken again, or look for salvation 
in the power of verse? 

"Well, I was in a relationship for a few 
months before Christmas, but 1 really have an 
issue with relationships. In fact 1 have never 
really had a relationship up to a few months 
ago. 1 am just very comfortable and happy 
alone. 1 am lucky in that respect but at the 
same time 1 have moments where 1 have fallen 
in love with people that don't love me back, 
and 1 have very sad and lonely moments. 1 
think 1 need to work at allowing someone to 
come into my life. 1 am a bit of a control freak, 
1 think. But 1 am starting to have relationships 
here and there. At the moment 1 am writing 
about being 23 and maybe doing some reck- 
less things. 1 think it's important for me to have 
fun and maybe not be in relationships. Maybe 
my next album will be the opposite of In The 
Lonely Hour. However, 1 think everything is 
about love all the time, isn't it, really?" 

The scale of Smith's success is not unprece- 
dented, but it is unusual, especially in today's 
climate, when people don't buy eight million 
copies of anything, apart from maybe the 
latest iteration of a mobile phone. They cer- 
tainly don't buy the rather downbeat debut 
album of a previously unheard-of 23-year- 
old without obvious X Factor looks. Which 
makes Smith's success even more heartening. 
In The Lonely Hour is a seriously good record. 

You don’t sell eight 
million records 
unless the public like 
you - in Smith’s case 
they obviousiy do 

the kind that you enjoy hearing blasting out 
of car windows in the summer, or wafting over 
you as you walk into a bar. Smith's success 
has got to be about other things too, namely 
himself, as you don't get to sell a record in such 
numbers unless the public actually like you. 
Which in Smith's case they most obviously 
do. You can see why. He is bright, engaging, 
passionate, funny, enjoyably self-deprecating 
and apparently genuinely bamboozled by his 
success. It's one thing to have trained so much 
that you know you can sing to a certain stand- 
ard, and it's another to be able to write songs 
that bear constant repetition, but it's some- 
thing else again to connect in such a huge way 
with such a disparate global audience. 

So personality plays a lot. Smith's OCD 
won't have hurt, either, or his obsession with 
perfection. He has a very particular way of 
writing, starting early in the morning, and 
leaving when the day is done, clocking on 
and off and taking his job extremely seriously. 
He doesn't like leaving the studio until he has 
completed the bare bones of a song, and if 
he is writing with someone who hasn't been 
able to wrap themselves around Smith in the 




appropriate manner - ie, successfully produce 
a decent song - he won't write with them 
again (one strike and you're out). He uses his 
voice as an instrument, and he expects his 
collaborators to treat it with respect. As for 
his OCD, he thinks he has it in check now, 
although it has obviously informed a lot of 
what he has achieved in the studio. "The 
worst it ever got was when I lived in this 
tiny little flat by The Oval where 1 had to him 
myself hicking on and off every single plug 
in the house and him myself checking every 
single tap to make sure they were off because 
1 had a fear that if the house was going to 
hood or burn when 1 went out then 1 would 
have proof that 1 had nothing to do with it. It's 
crazy isn't it? But 1 go to hypnotherapy now, 
which helps a lot, which is good." 

He is learning to cope in other ways, too, in 
particular with the ridiculous orbit of fame he 
now inhabits. He walked along Oxford Street 
to our interview at Vogue House, and even 
though he had a burly security guard with him, 
it would have only taken a chance encounter 
for him to be mobbed. 

"1 wouldn't get on the Tube as that would 
freak me out, but if you're careful it's fairly 
easy to walk around London. My problem is 
my height, as I've always been too tall. I've 
learnt to cope with the stress of being recog- 
nised though. The sheer amount of effort it's 
taken for me to not lose my head and not go 
a little bit crazy has been hard, as it's been 
intense. I realised that I don't want to be 
famous, but 1 want my music to be famous. 
The problem with this industry is that it's 
about so much other shit than just the music... 
and that's exhausting. In interviews people 
care more about me telling them what Kim 
Kardashian smells like. Which, as Tm sure you 
know, is vanilla, by the way." 

When Sam Smith hnishes a gig, and having 
done all the backstage kissing and high-hving, 
and having calmed himself down, when he 
hnds himself alone back in his hotel room, 
he'll sit on his rented bed and flip open his 
laptop. He might listen to Sarah Vaughan, 
Etta James or Frank Sinatra; he might listen 
to D'Angelo, Elton John, Chaka Khan or The 
Beatles; he might even listen to Norah Jones 
or a Harry Potter audio book (read by Stephen 
Fry). But what GQ's Solo Artist Of The Year 
will probably do - and at this stage in his 
career this is really all you need to know about 
Sam Smith - is watch David Attenborough's 
Planet Earth. 

Small world. Big world. 

OCTOBER 2015 GQ 289 

‘I realised 
that I don’t 
want to be 
famous, but 
I want my 
music to be 

Jacket by Alexander 
McQueen, £1,035. 
Jumper by Hermes, £980. Trousers 
by Burberry Prorsum, 
Earrings, Sam’s own 


y y 

‘At the moment 
I am writing about 
being reckiess... 
However, i think 
everything is 
about iove, isn’t it?’ 

Jacket by Alexander 
McQueen, £1,150. 
Shirt, £220. Tie, £90. 
Cufflinks, £150. All by 
Trousej:; Burberry 
Prorsum, £395. burberry—^, 
com. Shoes by 
Dries Van Noten, £343. 
Socks by The London 
Sock Company, £12. 
com. Earrings, Sam’s own 

Suit by Alexander 
McQueen, £1,270. 
Shirt by Lanvin, £220. Tie by Dior 
Homme, £130. 
Earrings, Sam’s own 



AWA#os rssyt 

I have fallen in love 
with peopie that 
don’t iove me 
back, i have had 
very sad and 
ioneiy moments’ 

Jacket, £1,136. 

Shirt, £532. Both by 
Earrings, Sam’s own 

Grooming Grant Woods 
at One Represents 
using Wahl UK 
Styling assistants Michael 
Cook and Jess Gulley 
GQ shot on location at 
The Lights Of Soho. ^ 

Flying the flag 

It’s official: Hawksmoor Spitalfields’ Ali Reynolds is the World Class UK 
Bartender Of The Year 201 5. GO finds out how he made it to the pinnacle 
of cocktail culture with World Class 

, ecuring the top spot in any national competition is no 

S mean feat. Unless, of course, you're Ali Reynolds. 
j Newly triumphant as World Class UK Bartender of 
the Year 2015, 31 -year-old Ali is a stalwart behind 
Hawksmoor Spitalhelds' bar and will now go forward to represent 
the UK in the World Class Global Final in South Africa - while 
inspiring new talent as a judge and mentor. 

On a mission to help the world drink better - and to celebrate 
the best in cocktail craft - World Class pitted ten of the best UK 
bartenders against each another across three challenges at the UK 
Final, which took place in a Scottish castle. Firstly, "Ground to 
Glass", where a handful of locally foraged dishes awaited a 
cocktail pairing from each bartender, for which Ali invented the 
gin-based "Homewood Found" and "DJs Of Our Thyme", made 

with Don Julio Blanco, lemon juice, saffron and thyme. Secondly, 
"Deconstruct/Reconstruct", a competition round to identify 
liquids containing a World Class Whisky Blend created by Master 
Blender Jim Beveridge. 

Finally, Ali beat the competition in the last round. How? 

With his brilliantly bizarre "Anty-Figmatic", he fused Ketel One 
Vodka, Cacao Blanc, citric acid and - naturally - ant-infused hg 
leaf syrup garnished with a miniature £10 note (an ant-tenner). 
World Class has cemented All's position in the cocktail scene, 
with even greater things to come. "This year's competition has 
been the biggest and best yet", he says. "It's a real honour". 

Ali can also be found at the Ciroc bar for GQ's Men Of The Year 
Awards. To hnd out more about World Class go to 
theworldclasscluh. com 

you ever 
thought you 



Marlon Brando 

is a lie 

Behind closed doors and stricken by grief, paranoia and donbt, this is the secret life 
of Marlon Brando in his own words. With insight from more than 200 honrs of nnheard 
recordings, we reveal the private history of the Hollywood family man who despised 
his father, lost children to murder and suicide, and channelled every harrowing 
moment into the greatest cinematic performances the world has ever seen 


Photograph Passion Pictures 

Graphic stories: 
Marlon Brando’s personal 
recordings direct the 
narrative of a major new 
documentary by British 
filmmaker Stevan Riley 

OCTOBER 2015 GQ 299 

has a story 
to tell; 
they are 

T he opening scene of director Stevan 
Riley's new documentary Listen To 
Me Marlon, an extraordinary film 
made up entirely of archive news- 
reef rare press interviews and previ- 
ously unreleased audio recordings, illuminates 
a time of unprecedented turmoil and tragedy 
for its star, the late actor Marlon Brando. 

Grainy news footage shows Brando, over- 
weight and distraught, standing in front of 
the world's press on the steps of his house 
on Mulholland Drive in Beverly Hills, his face 
ashen, his voice a rasp. "The messenger of 
misery," he announces, eloquently, "has visited 
my house." 

On 16 May 1990, the evening before, a man 
had been shot in the head while slumped 
watching television in Brando's den. Brando, 
who was at home at the time, heard the 
gunshot and raced to the scene, giving mouth 
to mouth in a desperate attempt to save the 
man's life. It was too late. The dead man was 
26-year-old Dag Drollet, scion of a prominent 
Tahitian family and the boyfriend of Cheyenne 
Brando, Marlon's daughter. 

Cheyenne, at the time eight months preg- 
nant, was the child of Tahitian actress Tarita 
Teriipaia, whom Brando had met, fallen in love 
with and married (she was his third wife) while 
hlming Mutiny On The Bounty in 1962. To add 
to the despair, Marlon also knew the killer: it 
was his beloved son Christian. 

It was a wretched scene. Marlon's 32- 
year-old hrst-born had shot his sister's partner 
in a drunken rage after she'd claimed at dinner 
hours earlier that Drollet was beating her. Later, 
Cheyenne's claims of abuse turned out to be 
a lie. She committed suicide hve years later. 

For Brando, this was fresh hell. Throughout 
his life he had tried to protect his family, espe- 
cially his many children, from what he viewed 
as fame's toxicity. Now, despite his efforts, the 
family was destroying itself from within. There 
had been troubling incidents in the past - his 
hrst wife, Calcutta-born actress Anna Kashh, 
arranged for their son, Christian, to be kid- 
napped by Mexican thugs for $10,000 while 
Brando was away in the French capital hlming 
Last Tango In Paris in 1972 - but nothing that 
could match Dag's murder for sheer horror. It 
tore Marlon apart. 

"The terrible thing that happened at that 
house that night is the ideal intersection at 
which to cross-examine the themes concern- 
ing Marlon Brando's myth," explains director 
Riley, who worked closely with the actor's 
estate, the family, the trustees and British pro- 
ducer John Battsek [Searching For Sugar Man, 
Restrepo, Fire In Babylon) to gain access to the 
crucial new source material - more than 200 
hours of audiotape made by Brando during 
his lifetime. 

In essence, this is Brando in his own words. 
The actor - using Dictaphones and a collec- 
tion of mics - recorded himself throughout 
his lifetime, with increasing frequency and 
introspection the older he became. There is, 
in fact, a current uptick in documentaries that 
use largely pre-existing material to construct 
a him that purports to shed new light on a 
person of cultural interest, especially one who 
is deceased. This was visible in Asif Kapadia's 
moving documentary Senna (2010) and also in 
this year's Amy, Kapadia's him about the loss 
and turmoil of Amy Winehouse. In the past, 
critics have argued that to make a great doc- 
umentary you need two crucial ingredients: 
the presence of the hlmmaker at the events on 
view and a new way of seeing the impact of 
the past in the present or, indeed, the impact 
of the past on the future. 

Kapadia's Amy, for example, was able - at 
least temporarily and much to the annoyance 
of the singer's father - to reframe Winehouse's 
demise using footage captured on mobile 
phones, something that simply wouldn't have 
been possible ten years ago. The extraordinary 
thing about Listen To Me Marlon, however, 
is that the witness, judge and jury is Brando 
himself - it's his voice, his rigorous own self- 
analysis, and, of course, his version of the truth. 
The revelation this time is in the confession. 

"The process of getting the audio came from 
John [Battsek] and Passion Pictures," explains 
Riley. "There's a guy called Austin [Wilkin] 
who is in charge of the Brando Archive in Los 
Angeles, along with the trustees and family. 
A great deal of Brando's possessions were 
sold through Christie's after his death, and his 
house was bought and knocked down by his 
neighbour Jack Nicholson who, I guess, didn't 
want it to become a shrine. The rest of his 
stuff was just put in boxes and wasn't really 
touched for ten years." 

Battsek had worked with Wilkin previously 
on a documentary called We Live In Public, a 
him that, ironically enough, was about loss of 
privacy in the age of the internet. Although 
Battsek's interest was piqued by the mere 
mention of such an icon, he knew the him had 
to offer more than the usual parade of talking 
heads - the Johnny Depps or Sean Penns of 
this world. It wasn't until Wilkin explained to 
Battsek about Marlon's forgotten tapes that 
the producer knew he'd found his way in. 

Once the family had green-lit the idea of 
using the tapes, Battsek then convinced Riley 

The contender: Marlon Brando aged six, 1930 
2 A year before his defining role in A Streetcar 
Named Desire, 1950 3 At home in Los Angeles, 
1953 During rehearsals for The Men, 1949 
5 As Stanley in A Streetcar Named Desire, 1951 
C Reading the script before shooting The Men, 
1949 7 Brando’s iconic look in The Wild One, 

1953 Lighting up in 1952 With first son, 
Christian, who would die in prison 50 years later, 
1958 Aged 44 in 1968 On the set of Mutiny 
On The Bounty with director Lewis Milestone, 

1962 2 Brando as mutineer Fletcher Christian, 
1962 3 As Freddy Benson in Bedtime Story, 1964 

Playing the bongos at his LA home, 1955 
5 Interviewed by Hugh Downs on The Today 
Show, where Brando lamented intrusions on 
his privacy, 1963 ~ With Martin Luther King Jr, 
1968 7 In Tahiti, where Brando’s third wife, 

Tarita Teriipaia, was born, 1967 On the set 
of A Countess From Hong Kong at Pinewood 
Studios, 1966 With daughter Cheyenne, then 
aged two, 1972 2( In Bedtime Story, 1964 
2 Dancing in 1966 22 As the Godfather, 1972 
23 Portrait from 1972 24 Between takes on 
the set of Last Tango In Paris, 1972 25 With Last 
Tango co-star Marie Schneider and director 
Bernando Bertolucci, 1972 2C As Colonel Kurtz 
in Apocalypse Now, 1979 27 Brando with his 
father, 1955 28 The sun sets over Tahiti, 1970 

to jump aboard and wade through what turned 
out to be more than two full weeks of Brando's 
voice and dialogue. Riley was someone Battsek 
had worked with on Fire In Babylon (2010) - 
about the heyday of West Indies cricket - and 
also on a him about the entire Bond franchise, 
Everything Or Nothing. Battsek knew Riley 
was the only man who had both the patience 
and the aptitude to make coherent sense of 
the tape-to-screen brain dump that was ulti- 
mately required. 

What Battsek, Riley and Brando's estate 
achieved could arguably be labelled Marlon 
Brando's last performance. For more than 
100 minutes Marlon's voice pours into the 
audience's ears. We hear him thinking, ques- 
tioning, exploring. We hear the rebel, the 
lover, the clown, the activist and, yes, the 
"contender". It takes in everything from his 
success on Broadway with A Streetcar Named 
Desire in 1947, the renown he found in On 
The Waterfront in 1954, to his distrust of the 
him industry, the death of Dag and beyond, 
all narrated by a man who, because of his vast 
fame, is both familiar and unfamiliar to us. It 
is a private audience with the best actor of 
all time - a label that sticks whether Brando 
himself would have liked it or not - and a him 
at times so intimate one wonders whether 
anyone should be listening at all. (>) 

*l\hat lame does 
is remote you 
from reality; I can’t 
stand it. I hate 
it. I hate no idea 
hott comi’orting it 
must he to he an 
oi^inary person’ 

300 GQ OCTOBER 2015 

Photographs Alamy; Associated Diffusion; Howard Bingham; Brando Estate; Corbis; Getty Images; Mike Gillman; MGM; MPTV; Art Shay 


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B rando loathed his father. It was 
a hatred that frothed and boiled 
underneath his skin like only bad 
blood between relatives can. When 
his hrst son was born, tapes heard 
for the hrst time here illuminate how deep 
his mistrust and anger ran. "1 didn't want my 
father to get near Christian," he tells us. "The 
day he was born I said to myself with tears in 
my eyes, 'My father is never going to come 
near that child because of the damage he has 
done to me.'" 

Through the hlmmaker's sensitivity and 
craft, Brando's rage reverberates. He was closer 
to his mother, a creative woman who enjoyed 
writing poetry occasionally, though she too 
was an alcoholic, "the town drunk", and as a 
boy growing up in Illinois he would often be 
forced to go and scrape her off whichever bar 
floor she'd been found on. 

Marlon Brando Sr was precisely as the star 
described his character's father in Last Tango 
In Paris (1972), the him in which director 
Bernardo Bertolucci famously "duped" Brando 
into revealing more of his own vulnerable self 
than perhaps he ever intended to. "My father 
was a drunk," says Brando to co-star Maria 
Schneider in one scene. "Tough. A whore- 
f***er and a bar hghter. Super masculine." 

Brando's relationship with his father, or 
rather the lack of it, seeped into every part 
of his life, for the entirety of his life. It was a 
sickness. There is a particularly telling scene 
halfway through the him, a black-and-white 
television clip of a prohle of Brando made 
by American broadcast journalist Edward R 
Murrow and shot soon after the star won 
his hrst Oscar for On The Waterfront in 1954. 
Brando, then seemingly playing the dutiful 
industry darling, is surprisingly considered, 
thoughtful and candid throughout. 

At one point, however, Brando Sr appears 
and sits down next to his son. "I guess at 
this point you must be mighty proud of your 
son right about now?" he is asked. The reply 
leaves little room for interpretation as to what 
the older man thought about his son's chosen 
career. "As an actor, not too proud, but as a 
man, quite proud." Marlon's demeanour shifts 
noticeably from amiable and courteous to one 
of twitchy discomfort. "We had an act we put 
on for one another," Brando confesses later on 
in Riley's him. "I played the loving son and 
they played the adoring parents. It was a lot 
of hypocrisy." 

Brando used acting as an escape, an escape 
from his childhood, his unhappy home life and 
especially an escape from his tyrannical father. 
"When what you are as a child is unwanted," 
he explains, "you look for an identity that will 
be acceptable." 

At the beginning of his career these iden- 
tities were rewarding - "acting is surviving" 
- although it wasn't until he met legendary 
acting coach Stella Adler that he realised that 
both good and bad experiences could be used 

302 GQ OCTOBER 2015 

as triggers for a more truthful performance. 
"I had never done anything in my life that 
anybody told me I was any good at," states 
Brando. "[Adler] put her hand on my shoul- 
ders and said, 'Don't worry, my boy. I have seen 
you and the world is going to hear from you.'" 

The casting of Brando in Streetcar on 
Broadway was his hrst taste of success and, 
initially, he loved it. The problem, as always 
with Brando, was that he got bored. Numerous 
stories exist about how he would try to liven 
up his nights at the theatre, even in the short 
gap between scenes. This would invariably 
involve looking for some action, either with 
a member of the opposite sex or, once, in the 
form of a little boxing with a stagehand in the 
basement. The stagehand, so the story goes, 
had some form with his hsts, having been an 
amateur boxer, and, with Brando always after a 
real experience, ended up smashing the actor's 
nose like an overripe watermelon. Brando 
returned to the stage with blood streaming 
down his face and a grin as broad as Stanley's 
"Polack" shoulders. 

There was always that miscreant side to 
Brando's character, the unpredictable, trou- 
blemaking, rebellious side - a trait he claims 
emerged after being heartbroken aged seven 
when abandoned hrst by his mother (to drink) 
and then by his beloved Dutch nanny, Ermi 
(who went home to get married). 

Boredom eventually led to self-doubt, a 
sensitivity not so much about his ability as 
his reasons for being in the profession. "Lying 
for a living is what acting is. All I've done is 
be aware of the process. All of you are actors. 
And good actors because you are liars. When 
you are saying something you don't mean, or 
refrain from saying something you really do 
mean, that is acting." 

‘When you 
are an 
child, you 
look for 
an identity 
that will be 

Brando gives an example: "You're coming 
home four o'clock in the morning and there she 
is waiting for you at the top of the stairs, your 
wife. 'You wouldn't believe me, sweetheart. You 
wouldn't believe what happened to me!' Your 
mind is going 10,000 miles per hour; you're 
lying at the speed of light; you're lying to save 
your life. The last thing in the world that you 
want her to know is the truth. You lie for peace. 
You lie for tranquillity. You lie for love." 

The him also goes some way to reaffirm that 
which we already know about the actor. Praise, 
for example, never sat well with Nebraska's 
most famous son. Throughout his career he 
became disillusioned about his celebrity. Eame 
seemed to rot inside him; he found it gross 
and unpalatable. "I wanted to be involved in 
motion pictures so I could change it to some- 
thing nearer the truth," Brando says, sounding 
somewhat resigned. "I thought I could do that." 

Despite his increasing distrust of the 
Hollywood machine, Brando understood 
that hlms could be powerful tools, both for 
the actor and the audience. They could shift 
a man's place in the world. Myth could be 
created and used for one's own means. 

"People will mythologise you whatever you 
do," he tells us. "There's something absurd 
about the fact people go with hard-earned 
cash into a darkened room where they sit and 
look at a crystalline screen upon which images 
move around and speak. And the reason they 
don't have light in the theatre is that you are 
there with your fantasy. The person up on the 
screen is doing all the things that you want to 
do, kissing the person you want to kiss, hitting 
the person you want to hit..." 

Through listening to Brando, with Riley's 
edit, you feel he never quite struck the right 
balance between deep cynic, someone who 
loathed the industry, and idealist, the dreamer. 
Even his most lauded scene gets autopsied and 
then nonchalantly brushed aside. "There are 
times when I know I did much better acting 
than that scene in On The Waterfront. It had 
nothing to do with me. The audience did the 
work; they are doing the acting. Everybody 
feels like they are a failure, everybody feels 
they could have been a contender." 

In the end, success became a noose around 
Brando's neck. He continually felt misrepre- 
sented, misinterpreted - whether by journalists 
and writers such as Truman Capote (Brando 
insisted the author never made any notes or 
took any record of their lengthy, now infa- 
mous interview for the New Yorker) or by the 
constant intrusion he would have to deal with 
whenever he left the sanctuary of his Beverly 
Hills home. He became paranoid. He began 
taping everything obsessively, every person 
he met at home, every business meeting, 
even ideas for additional security measures he 
wanted to make to his house. "Install a camera 
at the gate so we can see whoever the f*** is 
out there at night." His tapes became to-do 
lists, memos, rants, a stream of consciousness. 

Photograph Passion Pictures 


"Most actors like getting their name in 
the papers/' he says. "They like getting 
all the attention. 1 very often am struck 
with the illusion of success. Quite often it's 
hard meeting people because you can see 
they have prejudged you not to be treated 
normally. To have people starring at you 
like an animal in a zoo, a creature from a 
distant land." 

hard scene 
to play, as 
you have to 
convince the 
that you’re 

W hen Rebecca Brando calls from 
New York, her voice is hushed. 
Having spent the evening 
before our conversation 
watching the documentary - 
hearing her father's hypnotic self-analysis in 
his unique timbre - 1 can't help but be a little 
spooked. Rather than deep introspection, 
however, Rebecca's voice is quiet and close 
because her daughter, Marlon's granddaughter, 
is still asleep in the same hotel room. 

Family was such a significant theme in 
Brando's life that it's refreshing to speak to 
someone who was at its nucleus. "Stevan 
[Riley] took such a sensitive approach to the 
him and this was important to us. So many 
books have been written, so many lies told, and 
we were never allowed to speak to the press 
and have our say, but this him is our way of 
doing that. Growing up with all those negative 
stories was so hurtful. We wanted something 
more truthful to be made about my father." 

Rebecca was the daughter of Marlon and 
Movita Castaneda, a Mexican-American 
actress whom her father married in 1960. 
Born in 1966, she also has a brother, Miko 
Castaneda Brando, hve years her senior. "My 
father taught me so much, especially about 
compassion. In the end he only made money 
so he could help hght injustices. [He helped] 
the civil rights movement, Martin Luther King, 
the Black Panthers. When he didn't accept the 
Oscar for The Godfather, 1 don't really remem- 
ber it happening, but as 1 got older that sort of 
behaviour didn't surprise me about my dad. 1 
remember when Superman came out and he 
made something like $3 million for 20 minutes 

on screen. There was a huge fuss about it, but 
1 knew why he did it - if they were going to 
pay it then why not? He just put his money 
into the things he really cared about." 

Rebecca realises that her father made these 
tapes because, as much as anything, he wanted 
to clarify his thoughts. They became a journal 
that helped him iron out the jumble of ideas 
and theories. There is much that Riley had to 
leave out of the film. The conversations Brando 
had for hours on end with influential friends, 
such as Nick Nolte or Jack Nicholson, a man 
who became his conhdante and neighbour. 
Riley remembers listening to one particular 
tape and thought he was hearing Brando chat- 
ting up a woman. Only after some time did the 
director realise the woman was actually the 
high-pitched Michael Jackson. 

I ask Rebecca whether her father ever 
divulged how he really felt about his most 
famous roles. "Ask any question about any of 
his hlms and you would be totally ignored. It 
was understood that we wouldn't talk about 
acting and he didn't want any of us to pursue 
acting careers or go into the movie business. 
He wanted us to follow our academic pursuits. 

"1 remember when 1 was nine or ten and 1 
came into the living room and 1 had always 
loved pop 'standards', especially Sinatra. 
My dad was reading the paper, 1 was sitting 
across from him and 1 was whistling, 'Luck Be 
A Lady' from Guys And Dolls. 1 said to Dad, 
'Do you know that song? Can you sing it for 
me?"' Despite the him being a huge commer- 
cial success, Brando and Sinatra famously 
didn't get on during the hlming, with Sinatra 
referring to his co-star as "Mumbles" for much 
of the picture. 

His daughter quickly realised her mistake: 
"He lowered his newspaper and looked at 
me with daggers in his eyes. When we went 
round to my father's house you minded your 
behaviour. It's not that he yelled, but he was 
intimidating. This he got from his own father. 
He often asked me, 'Why are people afraid of 
me, Rebecca? It feels like 1 intimidate people.' 
1 think people just wanted to please him." 

As a young woman growing up, Rebecca 
would have to steel herself to introduce a 
new boyfriend to her father. "He was always 
asking me about boys, of course. 1 had some 
boyfriends that were just too scared - they 
couldn't handle it. He would always turn and 
say to us, 'No hanky-panky' which of course 
1 was mortified by. 1 was like, 'Dad, of course!"' 

Brando died on 1 July 2004 from respiratory 
and heart difficulties. He left behind 14 chil- 
dren and at least 30 grandchildren. Towards 
the end of his life he suffered from failing eye- 
sight, caused by diabetes, and also liver cancer. 
It was his voice, eerily enough, that remained. 
He recorded a line for a computer game as Vito 
Corleone shortly before he died, and he made a 
point of phoning loved ones, family and friends 
in the weeks preceding his death. "1 remember 
that last conversation 1 had with him," recalls 

Rebecca. "It was just a few weeks before he 
died. He didn't want everyone, especially not 
all the children, to know how bad he was. We 
expressed our love for one another and that 
was it. 1 will never forget it." 

You can't help but wonder what Brando 
would have thought about the state of the 
world in 2015. "My father was a visionary. He 
also loved technology. He loved the internet 
and wanted to make television shows that 
were web only - that was a long time before 
Netflix. He would be pleased to see the electric 
car, things like the Prius, taking off. He liked 
reality television. 1 think he was aware of the 
Kardashians. He would have loved the iPhone 
and iPad; he worked with Photoshop a lot. He 
would have got a kick out of all those creative 
apps; the ones that distort your face..." 

There was one piece of technology that 
Brando wanted more than any other. "My 
father wanted to be frozen. That's what he 
wanted most, for scientists to hgure out a way 
that he could die and then be brought back." 

What does Rebecca think her father would 
have made of the documentary? "He would 
have been proud, 1 hope. He knew those tapes 
would be found and used in some way - he 
was no dummy. 1 feel this was his document, 
his diary unlocked for us to discover. He could 
have destroyed them if he wanted to. In a way, 
the him is my father coming back to us, a very 
personal part of his legacy." 

You get the impression that towards the end 
of his life Brando came to a fragile peace with 
his demons. As Riley says, "[He had] a wisdom 
that old people are often gifted with." He 
even made peace with his father, albeit too late 
to tell him. "When my father died 1 imagined 
he was slump-shouldered, walking to the edge 
of eternity. He looked back and said, '1 did the 
best 1 could.' Finally 1 forgave my father as 1 
realised 1 was a sinner because of him, and he 
was a sinner because his mother had left him 
before. He didn't have a chance." 

In the end the him holds up a black mirror 
to Brando. We hear his solitary voice boat- 
ing between the real world and the screen, 
between his world and ours, the past with 
the future. There's no doubt we are left with a 
more rounded understanding of this mercurial 
being, though perhaps with just as many ques- 
tions - as he would have wanted. "Through 
introspection and examination of my mind, 
1 feel like 1 am coming closer to the common 
denominator of what it means to be human." 

The Brando myth burns on. © 

Listen To Me Marlon is out on 23 October. 


For these relate-:! stories, 



Living Like Leo (Jonathan Heaf, July 2015) 

This Hotei Kept AM The Secrets Of The Rich And 
Famous... Untii Now (Kirk SUsbee, June 2015) 

GQ icon: Mark Ryiance (Ed Caesar, February 2015) 

OCTOBER 2015 GQ 303 



Jason Alper has brought British irreverence to the LA art scene, but then it’s no 
surprise that the work of the man who styled Ali G, Borat and The Dictator 
for Sacha Baron Cohen would be heavy on the humour. GO meets the pop-art 
polymath who has turned mixing brands into a brand all his own 


Photograph Will Dearborn 

Now you see him: The 
British artist Jason Alper in 
his Los Angeles studio; (left) 
the wall-mounted sculpture 
Mr-Pink (2011) that mixes Star 
Wars and Playboy iconography 

‘I wouldn’t / 
say subtlety 
has ever been 
my strongest 

Perhaps predictably; Jason Alper doesn't think 
there's enough satire in art. As the man who 
became notorious for customising "The Blue 
Boy", the "Mona Lisa" and "The Laughing 
Cavalier" with the Louis Vuitton print, this 
is hardly surprising. It is even less surprising 
when you know that Alper is also the man 
responsible for putting Sacha Baron Cohen's 
Borat in a mankini. Since he started showing 
his art, nearly a decade ago, the LA-based 
Cockney, a costume designer who also helped 
create Ali G and Briino, has established himself 
as the undisputed King of Irony. 

"I wouldn't say that subtlety has ever really 
been my strongest attribute," he says, as we 
sit on an upstairs sofa in Lab Art, his gallery 
on South La Brea Avenue in Los Angeles. "I've 
made a virtue out of putting conflicting brands 
together for the common good." 

With a keen eye and a biting wit, Alper jux- 
taposes iconic logos with famous imagery from 
the worlds of fashion, art and pop culture. 
A seven-by-four American flag made up of 
hand grenades and Ml 6 rifles cast in rubber. 
The Last Supper attended by the cast of 
Hello Kitty. A gargantuan Chanel logo con- 
structed from more than 5,000 Lego pieces 
- in Gucci colours. Caravaggio's masterpiece, 
"The Incredulity Of Saint Thomas", digitally 
altered with the apostles seemingly question- 
ing the authenticity of Jesus' Louis Vuitton 
robe. Another piece is entitled "I Must Not 
Be Facetious", principally "because I had to 
write it out 5,000 times at school. So I am 
really having the last word". The piece that 
perhaps best sums up his work is his version 
of the iconic "Love" design by Robert Indiana, 
in which Alper turns LOVE into IRONY. 

In the same way that photojournalism has 
become a hybrid of amateurs and profession- 
als, the digital age has ushered in an era of 
"anything is possible" and "everything has 
been done before", making artists like the 
46-year-old Alper increasingly interesting. The 
type of art you'll hnd in Lab Art - the gallery 
which he shares with a number of like-minded 
artists, and which is the largest gallery collec- 
tive in the US devoted to street art - doesn't 
so much speak to the vibrant complexity of 

the city that produces it, as reflect the way 
in which art, fashion and commerce are now 
expected to be commodihed for titillation. The 
climate at the moment is very much for a gen- 
eration of artists to take existing iconography, 
most of it late 20th-century iconography, and 
embellish it, disturb it, abstract it, and mess 
it up. And Alper is one of the best - subvert- 
ing the Coca-Cola logo, the Lego logo, the 
Star Wars logo, turning slogans into memes, 
fashion symbols into agitprop. 

There is nothing extempore or accidental 
about his work, as, like the advertising and 
fashion worlds they mimic, Alper's art is ana- 
lytical and all about communication. If Ed 
Ruscha's LA work in the Sixties focused on 
signs - the city's storefronts and apartment 
buildings, gas stations and restaurants ("That's 
what intrigues me about Los Angeles - the 
fagade-ness," said Ruscha), then Alper's LA 
work is all about the adaptability of signage - 
successfully, laughably, inevitably. Alper's art- 
works (like those by Banksy Mr Brainwash or 
any other custodian of this kind of street art- 

'1 mix things 
up. Mixing Star 
Wars with Disney, 
Piayhoy with 
Louis Vuitton...’ 

cum-social commentary) is playful and (unlike 
the work of Andy Warhol, whose obsession 
with advertising and consumerism was rarely 
displayed as satire) keen to tease. On many of 
Alper's Instagram posts you'll hnd just three 
hashtags: #art #luxury #fashion. Take your 
pick, they seem to be saying. 

"What I do is mix things up, creating the 
work in the process. Mixing Star Wars with 
Disney, Playboy with Louis Vuitton, one brand 
with another," he says. "I remember think- 
ing at one point that I wanted to combine the 
most iconic thing I could hnd in America - the 
cowboy - with the Star Wars logo, possibly the 
second most iconic thing about the US, as I just 
loved the idea of losing the lasso and replac- 
ing it with a lightsaber. 

"Coming from the world of costume design, 
I was thinking about working on the idea of 
embracing logos and art. I've always been a 
kid at heart. For instance Lego has always 
been prominent in my life. And, having chil- 
dren, Tm playing around with Lego a lot more 
now. When you look at a pixelated version of 
the Chanel logo, I thought it could transfer to 
Lego in a heartbeat. So I made a prototype 

and loved what came out of it. I'm also a huge 
fan of Space Invaders, and I've always wanted 
to make stuff that is attainable to everyone, 
because some of my work is really expensive." 

As his CV shows, Alper didn't start out in life 
with any aspirations to be an artist. His father 
was a hairdresser in east London, in the centre 
of West Ham (the football team Alper still sup- 
ports) and he was brought up in a completely 
working-class environment, albeit in a family 
immersed in all forms of culture - art, music, 
literature, the lot. Having started his career 
training to be a hairdresser like his father at 
Neville Daniel and John Frieda in London's 
West End, Alper then worked for the cloth- 
ing chain Woodhouse before joining the cos- 
tumiers Angels & Bermans. This led to a career 
as a stylist for commercials, before he moved 
into television, doing anything that came his 
way, initially working for Thames Television 
as a production assistant on The Des O'Connor 
Show and This Is Your Life ("My job was to hold 
Michael Aspel's big red book, the one he gave 
to the celebrity at the end of the show") as well 
as The Bill, Rumpole Of The Bailey, Duty Free, 
Brookside, Blind Date, Surprise Surprise, Top Of 
The Pops and Knowing Me, Knowing You With 
Alan Partridge. It was when he started working 
on The 1 1 O'clock Show on Channel 4 in 1998, 
though, that his fortunes began to change. It 
was there he met Sacha Baron Cohen, and, 
having clicked, the two of them started plot- 
ting. Between them they created the comic 
character Ali G, an uneducated, boorish "jun- 
glist" from Staines who wore outrageously 
tacky hip-hop suits, including a soon-to-be- 
iconic yellow PVC costume that was so bright 
it could apparently be seen from space. (A 
year after the premiere of the show, GQ named 
him Comedian Of The Year at the Men Of The 
Year Awards, while The 11 O'clock Show was 
also responsible for bringing Ricky Gervais, 
Mackenzie Crook and Daisy Donovan to our 
screens for the hrst time.) 

Ali G was such a success that Baron Cohen 
and Alper formed a partnership, going on to 
create the comic's other characters, Borat, 
Briino and The Dictator. It was Alper who came 
up with Borat's Mankini and Bruno's Velcro 
suit, not to mention the infamous Gaddah suit 
seen in The Dictator. 

A s for his current career, it 
was born out of frustra- 
tion more than anything. 
When he hnished working 
on Briino in 2009 he spent 
three months mooching 
around the galleries in LA and, not seeing 
anything he thought particularly inventive, 
and not hnding anything he wanted to put on 
his walls, he thought he'd give it a go himself. 
"It" being art, that is. "I didn't tell anyone, 
I just started building stuff, and then it was 
too late to stop. In my hrst show everything 
sold, so it gave me the conhdence to go on. @ 

306 GQ OCTOBER 2015 

Photographs Will Dearborn; Carrie Livingston 


Making a mockery 
(clockwise from top left): 
Jason Alper’s Mona LVisa 
(2013), showcasing his 
repeated motif of Louis 
Vuitton branding on old 
masters; Son Of A White 
Man (2012), a play on the 
work of surrealist Rene 
Magritte; The Laughing 
‘Chav’alier (2013); I Must 
Not Be Facetious (2012), 
inspired by the lines he 
was made to write out as 
punishment at school; 
glasses from the Way Too 
Big range (2014); My 
America (2010), made 
from moulds of M4 and 
M16 rifles with hand 
grenades; Logo (2014) 

\ . 




EjrT#U qHAfteES 

Life imitating 
Jason Alper in 
Angeles. ‘Wherever ' 
I’ve lived, it’s always 
the east side that’s 
the cool part, whether 
it’s in London or LA’ L 

1 w j 


prr . 

Photographs Rex 


(>) There were 32 pieces in that show, so it 
gave me a cushion." 

Baron Cohen, famously reticent when it 
comes to interviews, was keen to support, in 
his own inimitable style, of course. "1 told him, 
'You can't even draw a circle. How are you 
going to put on an exhibition?"' 

Yet that hrst LA show. It's All Back On, at 
the Guy Hepner Gallery in April 2010, was a 
complete success, which lead to his second. 
Proletarian Drift And The Enfranchisement Of 
The Bourgeoisie In The 21st Century, a few 
months later. 

He hasn't looked back since. "Art has become 
much more attainable for everybody. Long 
gone are the days when you had to spend 
$50,000 on a great piece. 1 think people are 
now just buying art because they like it, which 
1 think is a lot healthier than just invest- 
ing. The centres of so-called excellence are 
changing, too. There is another branch of Lab 
Art in Dallas, as there is a massive appetite 
for modern art there. It doesn't look like the 
recession's really hit Dallas. You go to their 
malls and everything is so high end there. We 
shot Briino in Dallas, and 1 hadn't been there 
before, and 1 was amazed just how well eve- 
ryone's doing. There's a huge appetite for cool 
stuff there." 

ow, while some like to say 
that irony was invented by 
Plato, as far as the enter- 
tainment industry is con- 
cerned, it reared its knowing, 
nodding felt head in the 
mid-to-late Eighties, roughly between the hrst 
sighting of Bruce Willis' smirk in Moonlighting, 
and Jack Nicholson's ya-gotta-love-me grin in 
Tim Burton's Batman. Irony seemed the natural 
conclusion of post-modern experimentation. 
And what wasn't to like? It was designed to be 
playful, funny, diverting. Suddenly everything 
came complete with a pair of large polystyrene 
inverted commas. Then, when the art world 
got involved - kick-started by street art, new 
Asian markets, Chinese art, and the habitual 
irony of Instagram - there was no stopping it. 
Which begs the question you hear all the time 
now: "Is it art, or is it just funny?" 

Now that we live in an age in which galleries 
are more popular than theme parks, where 
artists are the celebrity equal of those for 
whom fame is an occupation, and where art 
is one of the few investments bucking the 
economic trend, everyone and their agent 
wants to be an artist. With Alper, it was more 
a case of looking for something else to do 
with his life after 15 years working with Sacha 
Baron Cohen. 

It wasn't as though he hadn't had a peri- 
patetic lifestyle. Following the hairdressing, 
the shop floor and window dressing, Alper 
broke into costume design after bumping into 
Bob Ringwood and Graham Churchyard, the 
costume designers for Tim Burton's Batman 

‘I’ve got a lot 
to thank Sacha 
for, because his 
brand opened 
a lot of doors’ 

All good thongs: Jason Alper was a 
stylist for Sacha Baron Cohen after they 
met on Channel 4’s The 11 O’clock Show 
in 1998. Alper went on to design the 
costumes for the Baron Cohen 
characters AM G and Borat (above), 
as well as Briino and The Dictator 

movie in 1988, which led to his job at Angels 
& Bermans. He stayed there for two years 
before getting a call to style a commercial, 
which led to more advertising work, and 
various jobs in television. 

"Clothes have always been my thing, which 
is why 1 feel so comfortable with them," he 
says. "When 1 was growing up my dad was 
always the one who went out shopping for 
clothes and jewellery, never my mum. So I've 

always been around fashion and style, and 1 
think it was kind of an obvious move for me 
to go into costume design. 1 understood about 
construction without ever going to college. 1 
can just look at bodies and know how things 
will fit." 

The meeting with Sacha Baron Cohen was 
serendipitous, and their combined success 
immediate. "1 remember getting the 73 bus 
into town, the day after the hrst airing of The 
1 1 O'clock Show, and everyone was talking 
about Ali G. I've got goosebumps talking about 
it, still. 1 knew that this was almost like a life- 
changing job. Because up until then I'd worked 
with the likes of Rory Bremner and that calibre 
of comedian, who, although amazing, were 
very dated. Suddenly, Sacha came along and 
everything's in Technicolor. Everyone's like, 
'Oh my goodness, this is what we didn't realise 
we wanted.' I've got a lot to thank Sacha for, 
because his brand opened a lot of doors in my 
life. I've never taken that for granted because, 
effectively. I've put a 6ft 2in Jewish guy in 
a yellow tracksuit and sunglasses and been 
deemed a genius." 

Alper lives in Los Feliz, just outside 
Hollywood, with his young family. Like Silver 
Lake, Los Feliz is a suburban, hipster, art com- 
munity, a place where you can walk. "You 
know, wherever I've lived, it's always the 
east side that's the cool part, whether it's in 
London or LA." 

Los Angeles is where Alper found himself 
in orbit, a Brit in the sun who liked the 
weather, the buttery light, the roads, and the 
sense of freedom. Since moving there he's only 
driven Jaguars, first an XK8 coupe in British 
Racing Green, then the S-Type and now the 
XF. "I know it's a bit of a cliche but I'm obvi- 
ously just a sucker for that walnut dash and 
leather upholstery." 

H e was made for LA, one 
of those cities that actu- 
ally embraces reinvention 
rather than just tolerating 
it. LA has given Alper the 
opportunity to breathe. 
One of his most famous memes is the - very 
British - expression "It's all back on", and in a 
way that could sum up his time out here on the 
West Coast. He has been here for nine years, 
with a wife and two young children - two and 
four - and he has found the environment to 
be very forgiving. 

"You know something about everyone here? 
They're all very generous. The art world in par- 
ticular has been incredibly supportive." This is 
hardly surprising, as to be an artist in LA these 
days is still to assume outsider status. 

He misses London, misses the museums - 
The Wallace Collection in particular - misses 
the cultural immersion, and yet out here in the 
brave new world of 21st-century art, he feels 
at home. It's the energy he enjoys the most, 
and the fact that if you live and work here, @ 

OCTOBER 2015 GQ 309 

{>)you not only accept change, you encourage 
it, you will it. 

"It's taken me a decade to get it, but LA 
responds to creativity in a very different way 
to London. In LA you just get on and do some- 
thing, without waiting for it to be contextual- 
ised. As soon as I put my hrst piece out..." - he 
claps his hands - "boom... there was press. I 
have attained crazy amounts of press, and 
never had a PR company behind me, or a pub- 
licist. I just let the work do the talking." 

As many contemporary artists are starting 
to use existing brands in their work, the issue 
of copyright becomes increasingly important, 
especially in the digital sphere. Yet this isn't 
something that has so far affected Alper. 

"Obviously I speak to lawyers a lot, and the 
gist is that my work comes under satire and 
irony. You know, when I made the branded oil 
paintings, if I'd made handbags with a Louis 
Vuitton print on them I think I'd have been in 
trouble. But I'm just being satirical, and I'm 
doing that in the form of oil on canvas. Also, 
with my paintings, I don't do any sort of prints 
or Giclees [a Giclee is a term coined in 1991 by 
printmaker Jack Duganne for hne-art digital 
prints made on inkjet printers. It was originally 
used to describe only hne-art made on Iris 
devices, but has since come to mean any inkjet 
print] - they really are one-offs. I could sit 
here for two hours and tell you how I'm doing 
this thing with McDonald's at the moment, 
the world's most expensive hamburger. So I've 
got these casts of Big Macs which we're going 
to dip in platinum, and while I can't tell you 
what I'm going to write on them, it's going to 
be epic. I just love the idea of people having 
this shiny, platinum Big Mac in an acrylic box 
in their home." 

R ight now, most of his 
work comes from private 
commissions, the sculp- 
tures, the Lego pieces, the 
oils. "The beauty is, with 
the commissions, I can 
control everything. If someone's really inter- 
ested in me doing something for them, I say 
that it's going to take three months, because 
I don't have a team behind me or some pro- 
duction line." 

His most recent commission hasn't been 
for an art piece, though, but a uniform. Last 
year he was approached by the Church of 
Scientology in Riverside County, California, 
who wanted him to design its new costumes. 
While it may seem strange - worthy of a reality 
TV show, even - that the man who created 
Bruno's mankini would be commissioned to 
make the uniforms of L Ron Hubbard's spir- 
itual rehabilitation group, it's true. 

"It's odd, I know, I get that," says Alper, 
smiling, obviously keen to tell his story. "I 
took a meeting with them, and it was really 
weird. I mean, look. I'm not a Scientologist, 
I'm not even religious, but when I went for the 

hrst meeting they sat me down and very care- 
fully, almost methodically talked me through 
what they wanted from me. I couldn't believe 
it. Not only was it an amazing job and an 
amazing opportunity, but it has turned out 
to be one of the great working experiences 
of my life." 

A group of senior Scientologists drove all 
the way to Lab Art in LA, sat on the same 
sofa, and told Alper what they wanted. "We 
spoke about what they already had, what 
I thought was wrong with that, and what I 
thought they needed to change their image 
slightly. So for the guys I designed an eight- 
button blue suit, a turn-of-the-century, 
high-fastening, double-breasted suit. When 
I worked in Woodhouse we stocked this 
designer called Giuliano Fujiwara who made 
this sensational eight-button suit. I could 
never afford to buy it, so this uniform is my 
homage to it. My hrst meeting with them was 
18 months ago, and I was pretty conhdent 
that, given the circles of change, this kind of 
suit would be back again." 

‘I’ve got costume 
design, I’ve got 
art, I’ve got my 
script - so many 
piates spinning’ 

Alper told them their previous uniforms 
were shapeless, too utilitarian, and far too 
aggressive. "For the men, I said that I'd like 
to do something in a really dark navy, with a 
black lapel. Just look at every man on the red 
carpet these days - every designer's doing it, 
albeit single-breasted. For the women eve- 
rything's suddenly a lot shapelier, and I even 
gave them the option of Capri pants. I'm not 
doing anything crazy, but I just wanted to do 
something really stylish, and that would last, 
and that would be kind of timeless. I think it 
was really brave of the Church to listen to me, 
to collaborate with me. It just really was such a 
great experience. And now they're in produc- 
tion. They were just so great to work with." 

Unsurprisingly, Alper has also written his 
hrst him script. It doesn't matter whether 
you're a waiter, a painter, an actor or a res- 
taurateur, if you live anywhere within an 
hour's drive of the Hollywood sign then you 
are probably working on a screenplay. Doesn't 
matter if you're hustling for dollars at the 
bottom of Rodeo Drive, or starring in your 
hrst movie for a studio, if you're not working 

on a script then long-term residents might 
wonder whether you're taking the city seri- 
ously enough. 

"In my mind, my hrst screenplay was always 
going to be like Pulp Fiction" says Alper, with 
his lopsided grin. "But it's turned out to be a 
romcom called Hove, as in iPod. It's a love tri- 
angle between a DJ, an iPod and a girl. And the 
iPod plays a very important part in the movie." 
The script is doing the rounds in Hollywood 
right now, and, given Alper's luck and tenacity 
(which in LA are often spoken of in the same 
breath), it wouldn't be surprising if it was in 
cinemas this time next year. 

"I love writing. Well, I didn't exactly get 
my English 0 level, but I've had a few writing 
gigs. And there are times when I think I should 
hone in on one thing, but then there are times 
when I think, should I? I love all of it. I love 
making art, I love writing, I love doing costume 
design. Two days after I hnished the Church 
of Scientology job, I got a call from Queens Of 
The Stone Age, who want me to look at their 
image, and I love that." 

Ever the developer, Alper has also been 
working on a range of magnetic clothing, 
"because everybody's talking about space 
travel. I've designed these high-tops, which, 
if we go into production, will end up being 
the most expensive high-tops on the planet. 
They're an LED high-top that has a graphic 
equaliser going the whole way around the 
shoe. The more pressure you put on the shoe, 
the more it peaks into the red. No pressure: No 
LED. They're fun - I'm hoping we can work out 
some kind of solar pack on the sole." 

As for Sacha Baron Cohen, Alper is still 
working with him, albeit from a distance. 
"Sacha was in London doing Grimsby [released 
here next March] and the appeal of running 
all over the world wasn't really there for me. 
My wife wasn't over the moon about me being 
like, T'll be back in hve months, remember to 
feed the kids and do their teeth.' So I went 
back and forth, doing some character devel- 
opment, but I didn't do the whole movie. I've 
got the costume thing going on. I've got my 
art thing going on. I've got my script going 
on. I've just got so many plates I'm spinning." 

And with that he is off, jumping into his 
Jaguar for the drive back to Los Eeliz, and 
another afternoon of spinning - fiddling 
around with little pieces of Lego, worrying 
about his script, looking for new ways to 
fasten training shoes, and helding calls from 
religious groups. For Jason Alper it's a great 
life if you don't weaken. @ 



For these related stories, 



► Icon: Hattie Stewart (Dylan Jones, July 2015) 

► Icon: Henry Hudson (Dylan Jones, April 2015) 

► Antony Micallef (Dylan Jones, March 2015) 

310 GQ OCTOBER 2015 

Photographs Will Dearborn 


Laughter in the dark 
(clockwise from top): 
Jason Alper’s satirical 
painting Gimme A 
Minute (2015), based 
on Caravaggio’s 
The Musicians; the 
wall-mounted sculpture 
Irony (2010), a 
reinterpretation of Robert 
Indiana’s classic ‘Love’ 
design; the neon and 
black It’s All Back On 
(2011), one of Alper’s 
most well-known memes 



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Illustration Tracie Ching 


Are you engaged in daily 
combat with your 
co-workers? It’s time 
^0 face down the enemy 
^ and take command... 




Win the 
war from 
your desk 

Does your workplace 
resemble a battle zone? 
John Naughton profiles 
the rank and file - and 
ways to beat them 

War is hell And, more often than 
not, work is, too. Which is why, 
sometimes, you need to think of 
your office as a battleheld and 
ready yourself for conflict. First, 
know your enemy, who comes 
in many varieties and rarely 
makes it obvious by wearing 
a pith helmet (assuming your 
place of work is not a vintage 
military milliner's). However, the 
kind of inglourious basterds who 
feature in every decent war film 
are also to be found in your 
office. Here they are, and here's 
how you make sure that for 
them, the war is over. . . 


Codename: Operation Give Him Enough Rope. 

He (it's normally he) is straight out of "uni" and 
believes he'll blitzkrieg his way to the corner office 
with his explosive mixture of hard work, bright ideas and 
ferocious brown-nosing. Everyone else is just collateral damage. 

Countermeasures: Although he initially appears dangerous, 
he'll normally either settle down or bum out, so a light touch 
is needed here. Just guide him into the nearest office mineheld 
and stand well back. According to Lisa McQuerrey of Demand 
Media, make a virtue of saying, "Thanks for your input, but I'm 
going to do it this way." And repeat if necessary. 


Codename: Operation Verminator. 

Ideas are currency, and the Rat knows how 
to steal yours and grab the glory, from subtly 
rephrasing what you've just said in a meeting to passing off 
your presentation as their own. 

Countermeasures: Pick your battles. If the Rat is lifting your 
ideas in meetings it might be enough to point out the pilfering 
with a little quip, but if it's wholesale theft, you need to stand 
your ground. Career coach Lisa Quast recommends you present 
your boss with hard evidence. "Avoid whining or hnger 
pointing," she urges. But don't stop until you win. 


Codename: Operation Night Of The Long Knives. 
Sadly most offices have a backstabber. You'll need 
all your combat skills to defeat them. 

Countermeasures: Cut down on careless talk, advises life and 
career coach Dorothy Tannahill-Moran. When forced to talk to 
the two-faced, "learn the art of non-answers - keep it vague 
and supefficial", she suggests. And be prepared to confront 
- the only way to stop a backstabber is to call them out on their 
bad behaviour. It's unlikely to be a one-off, but award yourself 
a VC (vodka cocktail) for every campaign victory. 

314 GQ OCTOBER 2015 


Codename: Operation 
Can't Win 'Em All. 

Aka the Golden Child, the Special One, 
Golden Balls, this is the co-worker that 
can do no wrong, and may or may not be 
directly related to the boss. Interrogate 
their ideas and you'll be court-martialled. - 

Countermeasures: Sometimes it's not 
worth j eopardising your career by 
embarking on an unwinnable campaign. 
Tough pill to swallow but, assuming 
they're not related to the boss, look 
at what they've got and see if there's 
anything there to learn. "It may be 
difficult, if not impossible to change the 
status quo," cautions therapist and work 
coach David S Wilde. 



Codename: Operation 
Jaw Jaw, Not War War. 

One minute they're silently surveying 
the second-quarter forecasts, the next 
they're in your face and it's all gone "dz, 
di mao" from The Deer Hunter. You need 
a strategy to defuse this time bomb. 

Countermeasures: You need to get 
them to speak coherently. According to 
communication skills expert Allie Casey 
"Express yourself calmly but if you 
can't resolve the problem, ask for time 
to explore options and arrange a time 
to meet again." If necessary enlist a 
colleague to help mediate. (Alternatively, 
hit them in the face with a rifle butt* .) 
*On/y in the movie version. 



Codename: Operation Arm's Length. 

He's got a chest full of medals and a belly full 
of bile for the boss. He's been there and done 
that. But better, of course. His cynicism is as infectious as 
a Saigon brothel in '74. 

Countermeasures: If you're forced to interact with the office 
cynic, anticipate their inevitable objection and play up to their 
sense of self-importance. According to Dr Rick Kirschner, 
co-author of Dealing With People You Can't Stand: How To Bring 
Out The Best In People At Their Worst, ask them questions such 
as, "What would you do in this situation?" Flatter them into 
thinking they're in control. 


Gesture politics 

They are the telltale signs that let another person 
know what you're thinking. But as body-language 
expert Robert Phipps explains, it is not exactly 
easy reading all the signals... 

Men don’t get it, really... 

Generally speaking, it’s women that tend 
to be better at reading the subliminal 
signals we give out, and there’s a good 
reason for that. “Women have always been 
the primary child carers and, as we have 
no verbal language until we are around 
a year to 18-months-old, a mother has to 
be able to read the non-verbal messages 
her child gives off,” says Phipps. “It’s a 
matter of survival.” 

I Make the most of your posture 

The way you sit or stand is key to how 
other people perceive you. To project 
confidence, for instance, you should have 
your shoulders back and have your head 
held high (but not too high). You should 
use your hands to emphasise your spoken 
words, as this will also create a more 
confident persona. “Use good eye contact 
when talking and listening too,” adds 
Phipps. “This tells the other person you 
are engaging with them and not just 
hearing their words.” 

Spot the liars 

From a sudden movement of the head to 
covering their mouth and even a change in 
their breathing pattern, there’s a variety of 
signals that could mean someone is lying. 
But there is no foolproof way of always 
reading them right - even professionals like 
Phipps can’t catch out a liar each and every 
time. “When people tell lies, it depends on 
whether they are used to doing that on a 

daily basis,” he explains. “Those people 
will tend to give off fewer non-verbal 
clues than someone who rarely lies.” 


It was Charles Darwin who first noted how 
animals and humans tend to tilt their heads 
to the side when they appear fascinated 
or intrigued by someone or something. So 
it is, then, that when you’re interested in 
what somebody has to say, your head will 
naturally tilt your head to one side. A raised 
head held just a little too high, meanwhile, 
can come across as arrogant and/or 
uninterested, while a slightly lowered head 
and a tendency not to make eye contact 
could be perceived as a lack of confidence. 
“What you do with your head when you’re 
talking to someone can give a lot away,” 
says Phipps, “but it needs to be taken in 
context with the rest of the body.” 

Look out for love 

Want to know if someone’s keen on you? 
No need to ask -just look out for these 
signs. First, it’s the eye contact, which, 
for two people who are interested in each 
other, lasts slightly longer than normal. 
Watch out for signs of fleeting physical 
contact, too; fingers touching the forearm, 
a touch on a shoulder or the cheek, or 
maybe a flick of the hair as well. That’s 
her hair, not yours. Gavin Newsham 
Robert Phipps is the author of Body 
Language: It’s What You Don’t Say 
That Matters. Visit robertphipps. com 

Coiiinion exijressions and vvliat they mean 


Crossed arms 

Arms crossed 
can be both 
positive and 
negative in 
terms of body 
though, they 
tend to act as a 
defensive shield, 
that the person 
is anxious or 
lacking in trust. 


the nose 

This can be a 
sign of lying. 
Research shows 
that when 
a person is 
fibbing, their 
blood pressure 
increases and 
the tissue in 
their nose 
swells, causing 

Or they may 
just have an 
itchy nose. 


Fidgeting with 
hands, feet or 

fiddling tends 
to be nervous 

displayed when 
a person is 
with a 

or situation. 


Direct eye 

This can suggest 
that someone 
is interested in 
what you have 
to say, although 
prolonged eye 
contact can be 
interpreted as a 
little threatening. 

Blinking too 
can also mean 
is feeling 



It may be a 
means of getting 
more space on 
the bus or train, 
but sitting with 
your legs astride 
in the workplace 
is often taken 
for assertiveness 
or even 
arrogance. It’s 
not particularly 
pleasant for 
anyone sitting 
opposite you 
either, gn © 



Drink yourself fitter 

How can you keep your 
calorie count low and 
avoid the horror of the lime 
and soda? Raise a glass to 
these lightweight solutions... 

A Martini 

2.8 units 


The NHS 

recommends that 
men should not 
regularly drink 
more than 3-4 
units of alcohol 
a day. 

According to our 
calorific guide, 
that means the 

A standard 
glass of Riesling 

2.3 units 

A flute of 

1.8 units 

A Bloody Mary 

2.8 units 

A pint of draft 




1 Grape 

The grapes to look 
out for are Gamay 
Riesling and Blanc. 
A whole bottle of 
any of these will 
clock in at around 
580-600 calories. 
At the other end, 
swerve your 
corkscrew away 
from red Zinfandel 
- a bottle of 
which contains 
656 calories. 

2 Blood thirsty 

Cocktails are 
car-crash territory 
calorie-wise. A 
margarita has 550 
calories - that's ten 
more than a Big 
Mac. A Bloody 
Mary on the other 
hand is a mere 130 
calories, plus with 
the tomato juice 
and (presuming 
you eat the celery) 
you're getting two 
of your hve a day. 

3 Fizz-le kicks 

You'll struggle to 
hnd bars that offer 
low-calorie wine. 
In Sainsbury's, 
however, its Taste 
The Difference 
Hunter Valley 
Semilion has just 
114 calories per 
125ml glass. Also, 
despite the sugar, 
is still the low-cal 
king with a flute 
with 80 calories. 

4 Roger that 

Drink like the head 
of Sterling Cooper 
in Mad Men and 
there's an instant 
positive with the 
calories. A Martini 
contains just over 
100 calories (and 
you don't need 
to worry about 
the hve-calorie 
olive on the side). 
Now go flirt 
with your secretary. 

5 Neat and tidy 

It's time to become 
a neat spirit man. 
Whisky and vodka 

just on their own 
contain only 
around 90 calories 
per measure. Don't 
mess this up by 
adding coke. Sip 
your single malt 
or vodka neat. 

And if you're still 
at dilettante levels 
of appreciation, 
add an ice cube. 

6 Joys from 
the black stuff 

The calorie count of 
a pint of Guinness, 

unlike other heavy 
bitters and stouts, 
is reasonable. At 
210 calories a pint, 
it's less than almost 
any regular lager 
or bitter. So go 
easy on the black 
stuff; but don't 
feel too guilty 
about having 
a single pint. 

f^Ale to the chief 

llie darker the ale, 
the more calories 
you're packing 
away. So it's time 
to avoid craft ales 
- some of them 
have almost 200 
calories in just a 
bottle. The range 
of "light" beers is 
expanding though. 
Plump for a bottle 
of Beck's Premier 
Light (63 calories). 
Rob Crossan 


Race against yourself, 
someone else, or 
thousands. Park Run 
now hosts a free, 
timed 5k run every 
week in 347 locations 
across the UK. You can 
compare your times 
with your past efforts 
on the results page. 


The app TempoRun 
allows you to select 
the pace you want, 
and then creates a 
playlist based on 
that tempo. NB: if 
your phone is playing 
Adele, you’re running 
too slowly. 79p. 


Breathe in for two 
paces and out for 
three. It sounds 
simple, and simply 
pointless, but it helps 
you relax, lowers your 
heart-rate (making 
you a more efficient 
runner) and gives you 
something to focus on. 


The biggest bore 
when it comes to 
running is following 
the same route. 
MapMyRun measures 
distance, directs you 
to recommended 
routes, and times 
you while you do it. 


The app Zombies, Run! 
mixes gaming and 
storytelling to create 
a narrative while you 
run. You have more 
than 200 missions to 
complete in the story. 
Benjie Goodhart 
Free, zombiesrun 


of the UK population’s daily 
intake of added sugar comes 
from alcoholic drinks. 

Photographs Sudhir Pithwa; Getty Images; Rex 



1 1 1 

Joseph’s winning formuia 

rm up at around 
7.30am. I jump in 
the shower, drink 
an espresso, grab a 
protein shake and 
my kit and drive 
to training. • 

[Laughs.] probably 
from my agent 
and publicist. 
They give me 
the same advice 
all the time - smile! 
Whether it's on the 
pitch or off it, they're 
always reminding me to 
keep a smile on my face. 

It’s attitude. Once 
you’ve lost, you 
learn from it and 
you just put more 
into making 
sure you’re doing 
your best. # 

I’m good under pressure. Success ^ 
on the pitch helps you to stay 
motivated off it, so you just keep 
putting in your best performance, 
whatever the time of day or week. 

Not being included in the 
New Zealand tour last 
year with England, but 
that disappointment also 
motivated me to work 
harder in the season 
that followed. 

Take a life lesson 
from... Bath and 
England rugby star 

Jonathan Joseph 

When do you start 
your day? 

What is the 
breakfast of 

What is the 
most important 
decision you have 
made in your 
professional life? 

What is the best 
piece of advice 
you’ve ever 
been given 
(and by whom)? 

What separates 
winners from losers? 

What is the “secret” 
of your success? 

When do you do 
your best work? 

What was the 
biggest setback to 
your career, and 
how did you 
overcome it? 

How do you get 
the best from 
your team? 

If I’m at 
j|- home, I’ll 

H| make a 

shake - lOOg 
oats, liquid 
■■ egg whites 
and two 

scoops of protein, it’s 
the best way to start 
my day - good carbs 
• and protein. 

Probably moving to Millfield 
at sixth form, which led 
to me getting scouted for 
England Under- 18s. 

If I work hard, 
and keep my 
feet on the 
hopefully my 
• career will go 
from strength 
to strength. 


Communication. We’re a tight group at 
Bath and we’re all experiencing similar 
things every day, so there’s a lot 
of shared advice and knowledge. PH 


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teams with a specific 
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row; Predator Incurza 
for the half-back kicking 
crew; and the Adipower 
Kakari for the titanic 
tight five, ph © 

From £100-£165. 

Adipower Kakari 

OCTOBER 2015 GQ 317 




How to save 
your friend’s life 

When medical emergencies arise, a 
little preparation can be a matter of 
life or death, says GQ's survival expert 

ONE OF my proudest accolades is being 
Chief Scout. There are now more than 38 
million Scouts worldwide and as everyone 
knows, the Scouting motto is "Be prepared." I 
truly believe that they are words to live by and 
they are especially poignant when it comes to 
being confronted with a medical emergency. 

Most people's reaction to coming across 
a disaster scenario is what's known as adrenal 
freeze: the shock of the moment often 
paralyses people into inaction. I have seen 
it many times: that zombie-like gaze, even 
sometimes an inability to speak. And it is 
easy to understand why: being thrown into 
any sort of medical emergency can be bloody, 
brutal and shocking. But one of the reasons 
that people succumb to adrenal freeze is 
that they're scared, and they're scared 
because they don't know what to do. 

In a crisis, you haven't got time to be 
poleaxed by this adrenal freeze. Often there 
are just a few golden minutes to act effectively. 
Fail to act and people die. So, "being prepared" 
with some simple, memorable solutions to 
medical disasters can make that time-critical 
difference between life and death. 

In the aftermath of a disaster, hrst you need 
a triage strategy, which simply means having 
clear priorities. Priority number one is 
protection. You can't help anyone if you're not 
mindful of the threats around you. Before you 
can be of any help to anyone, you need to 
protect yourself and others from the threat 
- whether it's avoiding other cars on the road 
in a car crash or getting out of the biting range 
of a snake. Then you can start attending to 
casualties, using the ABC approach. 

ABC triage means checking three things - 
airways, breathing and circulation - and 
responding appropriately. The ABC system 
has been modihed and extended over the 
years (you may have read about ABCD 
or CAB), but if you remember this simple 
mnemonic, it will help you in 95 per cent 
of emergency situations. 

Airway obstruction - or choking - is much 
more frightening, aggressive and violent than 
people think: casualties stumbling around, 
crashing into things, loved ones screaming... 

You need to cut through all that. Grab the 
casualty, explain what you're going to do, then 
bend them forward and give them hve hard 
slaps between the shoulder blades with the 
heel of your hand. If that doesn't remove the 
obstruction, use the Heimlich manoeuvre. 
Stand behind the casualty, wrap your arms 
around their stomach so they are linked 
between the belly button and the bottom of 
the chest. Clench your lower hand, then pull 
sharply inwards and upwards. It's like an 
induced cough, and should force the 
obstruction out. Keep alternating between 
back blows and Heimlich manoeuvres 
until the obstruction is dislodged. 

If your casualty is not breathing, or a 
quick check of their pulse shows that their 
circulation (and therefore their heart) 
has stopped, you will need to perform 
cardiopulmonary resuscitation, or CPR. 

Think you'll never have to use it? Think 
again. A friend of mine was recently hosting 
a party when his friend collapsed with 
"sudden death syndrome". His body shut 
down, he vomited and peed himself - like I 
said, these scenarios can be ugly and shocking. 
If there had been nobody on hand to see past 
the nasty stuff, keep a cool head and perform 
CPR, he'd have been a dead man. No question. 

CPR is a mixture of chest compressions and 
rescue breaths. People worry about the details 
of how to do it, but the basic principle is that 
you need to get some air into the lungs by 
squeezing the casualty's nostrils and blowing 

into their mouth, and then you need to pump 
that air around the body by pumping the chest 
with the heel of your hand. You need to do 
this harder than you might think. You might 
even break their ribs doing it, but you have to 
do whatever it takes to get the oxygen going 
round the body. Do it to the rhythm of the Bee 
Gees song "Stayin' Alive" - about twice a 
second. And try to remember the 30:2 ratio - 
after 30 chest compressions give two rescue 
breaths, then keep repeating until they start 
breathing again or until medical help arrives. 

It's amazing how long you can keep someone 
alive doing this. I've heard people say that 
if the casualty still isn't breathing after ten 
minutes then he's dead (or at least brain dead) 
and you should leave him. Don't believe it. 

My mate's friend received CPR for 35 minutes 
before the medics were able to dehbrillate him. 
Three weeks later he was back home without 
any ill effects. The take-home message is: in 
a life-saving situation, never, ever give up. 

You should also know what to do if your 
friend gets badly burned. Pain is not a good 
indicator of how bad a burn is. A very deep 
burn can hurt less than a shallow one, because 
it's damaged the nerves. You need to cool that 
burn down as quickly as possible. Get it under 
cold running water immediately - it needs to 
stay there for at least ten minutes. If you don't 
have access to running water, use whatever 
cold liquid you can get your hands on. Don't 
use ice, as this can damage the skin further. 
Remove any clothing, watches or jewellery 
from the burnt area while it's cooling, but don't 
remove anything that has stuck to the burn. 
Don't pop blisters - they're your body's natural 
defence system kicking into action. Once the 
burn has cooled down, wrap it in clinghlm, 
which will stop it from getting infected. Forget 
the old wives' tale about rubbing butter or 
lard onto the wound - you'll make it worse. 

Like I said at the beginning, being able to 
save a life in an emergency is all about 
being prepared with a few basic techniques. 
With level-headedness and a little simple 
knowledge, your actions could be the 
difference between life and death. © 

Bear Grylls Survival Race is on 3-4 October 
at Trent Park, London, EN4 OPS. 
heargryllssurvivalrace. com. @beargrylls 

3T8 GQ OCTOBER 2015 

Illustrations Mark Watkinson 


The Travel Friendly Wearable Multi-Tool. 


Leave nothing undone.’" 


Anytime, anywhere. 

The functionality of a Leatherman tool, with you everywhere. 

GQ boldly goes to the final 
frontier and beyond, to 
where the world of watches 
knows no limits 

We meet the men who have 
conquered the earth's iast 
wiid piaces, saiute the military 
and go off on our own 
adventures - all without 
ever leaving an armchair 





Photographs Steve Neaves; Ben Riggott; Alanny Illustration Jon Rogers 

Model Will Brunnen at Select Model Management Grooming Sven Bayerbach using Kiehl’s 



All guns blazing 

Beef up those biceps and triceps with this 
15-minute work-out. By Jonathan Goodair 


Lying E-Z bar triceps extensions 

A Sets of 5 reps (at 10-rep max weight) 

Technique: Lie on a bench, overhand grip on bar, 
hands closer than shoulder-distance apart, arms 
vertical. Bend elbows, taking three seconds to 
lower the bar to the crown of your head, and 
return to start position. Repeat without pausing. 
For more, visit or uk 


Hammer curis 

► Sets of 5 reps (at 
10-rep max weight) 

Technique: Stand with 
your feet hip-distance 
apart, arms by your sides 
and palms facing in. Slowly 
curl the dumbbell towards 
the front of the shoulder, 
keeping the upper arm 
vertical. Lower over three 
seconds and repeat 
without pause. 



Lats and 

Lunge position, 
left foot forward. 

Turn right foot out. 

Left hand on block on 
floor, torso facing right. 

Line right arm up with 
torso and thigh, press 
right soie into fioor. 
Reach right arm to 
stretch side of body. 
Hoid for 60 seconds, 
breathing, and repeat 
on the other side. 


Eat this... 

Carb Killa 

Sports performance 
brand Grenade’s Carb 
Killa has 23g of protein, 
but just 214 calories and 
1.4g sugar. It’s great as a 
snack, or a supplement 
for those wanting to 
gain lean muscle mass. 
£2.49 per bar. 

Drink this... 

Green tea with lemon 

Everyone knows green 
tea is the healthiest 
drink going (cancer- 
fighting, calorie- 
burning, blood-pressure 
lowering). But add a 
squeeze of lemon juice 
and it will increase 
antioxidant absorption 
by 13 times. So make 
the best beverage in the 
world even better. 

OCTOBER 2015 GQ 321 


Hide your 
lying eyes 

Rebecca Newman 
reveals the secrets of 
bedroom psychology... 
with a little French fancy 

Oracle, I have a question of 
reassurance. She always shuts her 
eyes during sex. How do I know 
she's thinking about me? 

CB, by email 

My friend, you don't. In fact I'd bet 
you my ivory tower she's not. Not 
always, at any rate. So, what to do? 
First, be fair. Doesn't your mind 
occasionally stray to that Swedish 
deck hand with innocent blue eyes 
and Princess Leia plaits - but no bra 
and barely visible hot pants? 

Second, be realistic. Superman that 
you are, you can never be Jessica 
Alba in a hot tub with Bar Refaeli and 
Margot Robbie... In casting herself 
into fantasy scenarios your lover may 
well be doing you both a favour, 
jump-starting her libido to fast- 
forward into deeper arousal. After 
all, there's a chance that instead of 
arriving home with peonies and 
poetry, you breezed in late, executed 
four minutes of doorbell-polishing 
foreplay and fondly imagine you 
will shortly be coming together. 

Thirdly, be competitive. Who cares 
if she thinks about her ex (you're 
bigger than that, huh). You know 
that in terms of range, interest and 
expertise you leave him in the dust. 
Right? If not, hnd a groovy selection 
of my back columns at 

I hear L'Amourose is setting all 
the French girls on fire. Est-ce que 
c’est vraf? 

CA, by email 

Mais oui. You heard correctly: the 
Rosa, by French designers L'Amourose 
{£129.95. At is one of 
the more exciting toys on the market. 
The device consists of shaft and base 
- think old-school games console 
joystick - with a motor in each end. 
Why is it so good? Its seven vibration 
patterns and 12 speed settings afford 

Fantasy island: 

In the bedroom 
it is always too 
easy to let the 
mind wander to 
thoughts of a more 
exotic nature 

a really fabulous range of sensation. 

It can be used as dildo with clitoral 
vibe, as G-Spot vibe with clitoral 
pressure or stimulation, or you can 
send waves of stimulation between 
either end. Indeed it can also be used 
as a prostate massager, so you may 
well wish to have a whirl. 

To my mind, however, there are toys 
better shaped for the butt, and if you 
wish to bring the Rosa into anal play 
you may consider having her enjoy it 
frontally while you address yourself 

to her behind (remembering to use 
waterbased lube, as silicon lube may 
react to the silicon toy - try Yes Yes 
Yes, £7.92. At 

Doggie-style anal sex would be 
delightful: her holding the Rosa with 
its shaft inside her pointing forwards, 
and the base along her vulva. You 
both lying on your side spooning 
would make it easier for you to take 
control, such that you can exhibit no 
mercy once she's come but drive her 
on and on at your leisure. 







322 GQ OCTOBER 2015 



There is enough power in this little 
beast that you will want to start at 
the lowest settings - many women 
will hnd too much stimulation 
becomes confusing. If you are lucky 
enough to be dating a real sensation 
slave then work your way as slowly 
as you can through the levels of 
intensity while just barely moving 
yourself inside her - this way you 
can savour the deliciously evolving 
vibrations too. 

Betty Rocker. Is this a position 
every man should know, or the 
name of an especially unimpressive 
alt-country band? 

MS, by email 

Fortunately the former. The name is 
dreadful, but the position is not a bad 
one. It all depends on the flexibility 
of your manhood. Let us imagine 
your darling is astride you, her hair 
a waterfall over her pointed breasts; 
the lace of her Stella McCartney 
suspender belt {Isabel £65. At elegant on her 
perfect skin. She rolls the hard shaft 
of your penis inside her, running her 
lips beneath the lobe of your ear, 
down your neck. Now she circles 
round to face your feet, her buttocks 
teasing the tip of your manhood as 
she rides you in Reverse Asian Cowgirl 
(I know, I didn't decide on the names). 

At last she bends her torso 
forwards, until her nipples touch 
your shins and she is rocking gently 
forward and back. Bingo, you're in 
position, hence the Rocker of the 
title. And, without wishing to harp on 
a theme, this is a charming setup for 
you to run a well-lubricated huger 
teasingly round her spider, or indeed 
introduce a little butt plug. The 
Julian Snelling Rosebud style 
is a pleasing shape for the 
ingenue - and he now even 
makes one with a lovely 
lion-head door-knocker- 
esque detail for easy 
removal. Bon voyage. 

Rosebud Lion 
Head Butt Plugs 

by Julian Snelling, 

£90. At 


Confidence tricks 

Everyone knows that assertiveness is the art of 
standing up for yourself without losing your cool. 
But we asked two experts how to get what you 
want without getting people's backs up... 

1 Asking for a pay rise 

IB! Write a pitch 
“Know what you’re asking 
for” says life coach Lucy 
Seifert (lucyseifert 
coaching-training, co. uk), 
who recommends 
“outcome planning”, 
whereby you consider 
what you want, what’s 
realistic and what you’d 
settle for. “Remind 
yourself of your 
qualifications and 
achievements to build 
your self-worth. Research 
comparative salaries 
so you don’t undersell 
yourself.” If the answer’s 
no, set a time limit 
for a reappraisal. 

If it’s still no, consider 
looking for a new job. 

IBBH Talk yourself out of it 

We tend not to ask for 
things because on some 
level “we expect to be 
punished for it” says 
CBT counsellor Andrew 
McLellan {thebeingwell. 
net), but that’s highly 
unlikely. Avoid these 
two unhelpful habits: 
“Mind-reading is when 
we think we know what 
someone’s thinking about 
us, usually negatively,” 
McLellan explains. “And 
fortune-telling is assuming 
we know how something’s 
going to go, usually badly.” 
There’s no harm in asking, 
but there is harm in not 
asking - you’ll be angry at 
yourself and it’ll be harder 
to try again next time. 

2 Disciplining 
an employee for 

IBiPut the onus on them 

“What’s important, 
assertively, is to give the 
person the opportunity to 
change,” says Seifert. Be 
specific as to what they’re 
doing wrong, then ask if 

there’s a reason why. 

“That way it’s giving them 
the chance to say they 
didn’t know, or to explain 
what’s going on. It’s a 
finding-out process, so 
use open questions.” This 
way you can also avoid 
which stifles creativity 
and can create “reverse 
delegation”, where you 
end up doing other 
people’s jobs for them. 

Be too hard on them 

“If you approach it 
as offering someone 
guidance, rather than 
telling them off you’ll get 
a much better response,” 
says McLellan. People 
respond negatively to 
outright negativity, so 
try “sandwich criticism” 
instead, where you 
compliment one aspect 
of their performance, 
followed by addressing 
the thing you want them 
to improve. “They will hear 
that very differently than 
if you just say, ‘You didn’t 
do this very well.’” 

3 Complaining 
in a restaurant 

^ Speak up 

“If you don’t complain, you 
haven’t really given the 

restaurant the opportunity 
to fix it,” says McLellan. 

The worst thing you can 
do is silently seethe: the 
five minutes you’re angry 
about an overcooked steak 
is nothing compared to 
the time you spend being 
angry at yourself for not 
saying anything. Ask the 
waiter to replace the dish 
and then “accept the fact 
they’ve done what you 
asked, and that it was 
OK for you to have asked 
in the first place”. 

^^QBe rude 

Avoid embarrassing staff 
or apportioning blame, 
favouring “I” statements 
over “you” statements. 

Eg: “I think this steak is 
overcooked,” is much 
better than, “You’ve 
overcooked this steak.” 
“Think about what you 
do want rather than what 
you don’t, because you 
might get something 
else that’s not what you 
want...” advises Seifert. For 
example, “Don’t say, ‘The 
food is cold.’ Say, ‘I’d like 
this heated up.’” The rule 
here, as always, is not to 
get upset. “Angry people 
tend to be unassertive,” 
says McLellan. “Being 
angry is never a good way 
of getting what you want.” 
Matt Glasby O 

OCTOBER 2015 GQ 323 


who is friends with Sean "Diddy" Combs 
and Leonardo DiCaprio. (Burkle has his own 
jet, apparently nicknamed 'Air F*** One" in 
honour of the exploits that allegedly go on at 
37,000 feet.) Epstein also joined a consortium 
that made a failed bid for New York magazine, 
known for its high literary style and associa- 
tion with Sixties "new journalism". He served 
on The Council On Foreign Relations, a US 
think tank, alongside former CIA directors 
and US secretaries of state. And he founded 
the Jeffrey Epstein VI Foundation, to fund 
research into molecular biology and mathe- 
matics along with (ahem) "youth initiatives". 
He even managed to get Stephen Hawking to 
visit Little St Jeff while at a conference on a 
neighbouring island. They discussed gravity. 

Much of the appeal, you get the sense, was 
the whiff of danger - of sex, even - that came 
with Epstein in this stuffy, cerebral crowd: 
the loafers, no matter what the formality; the 
lived-in good looks; the monk-like teetotal- 
ism; and the ripped, almost steroidal chest. Not 
to mention the gun and the Harleys that he 
straddled at the weekends. And, yes, the girls. 
Young. Thin. Accents. What else would you 
expect of man who was BFF with the owner 
of Victoria's Secret, and who was known to 
hnancially support MC2, a high-end mod- 
elling agency in Manhattan? (The agency's 
French-born owner, Jean-Luc Brunei, is now 
suing Epstein for the loss of business caused 
by their association.) 

Epstein's friends would even joke to the 
press about the billionaire's long-legged, not- 
old-enough-to-drink companions. Donald 
Trump, who owns the historic Mar- a- Largo 
Club near Epstein's mansion in Palm Beach, 
once thundered to a journalist, "He is a lot 
of fun to be with. It is even said that he likes 
beautiful women as much as I do - and many 
of them are on the younger side." 

Others, including guests at Epstein's dinner 
parties, found it awkward to mingle with these 
terrifyingly naive teenagers, who looked as 
though they should have been at home with 
their mums. 

Many have argued that, in spite of the 
girls, there were no obvious signs of anything 
improper going on at Epstein's properties. 

Alan Dershowitz, a lawyer and former 
Harvard professor, whose clients have included 
OJ Simpson and Julian Assange (he also once 
represented Epstein, and is now counter- 
suing Roberts' lawyers for defamation) told 
GQ that when he visited Little St Jeff with 
his wife and kids, all they did was hunt for 
treasure on the beach. "We were all totally 
shocked when these allegations came out," 
he says. "We knew that Jeffrey's girlfriends 
tended to be 25-year-olds, and we chided him 
about that. But mostly they were professional 
models. That was different to any allegations 
of anyone being underage." 

The police who searched Epstein's Palm 
Beach mansion after the first accusations 
against him emerged found it to be a rather 
less wholesome experience. There were soaps 
shaped like penises and vaginas in the guest 
bathrooms. Concealed cameras - one inside 
a clock - linked to a computer hard drive. 
And a stairway lined with photographs of 
young, birthday-suited girls. (One nude por- 
trait hung next to a picture of Epstein and the 
Pope, allegedly causing distress to a Roman 
Catholic maid.) 

In the "probable cause affidavit" that was 
later filed, long since leaked online, a parade of 
witnesses said that Epstein would get massages 
two or three times a day from females aged 14 
to 16. None of them were qualihed physi- 
cal therapists. The massages were booked by 
Epstein's blonde female assistant, Sarah Kellen. 
She coordinated with another girl, Haley 
Robson - just 17 when she started - to select 
new recruits from the high school they'd both 
attended. Robson told the police she was "like 
Heidi Fleiss" (the Hollywood madam) and that 
the girls were told to say they were 18 if ever 
asked their age. Privately, however, Epstein 
instructed Robson, "the younger the better". 

Most of the girls came from Royal Palm 
Beach, a slum built on alligator-infested wet- 
lands next to a highway, directly under the 
flight path to the airport. Many of its residents 
are on benehts, and the crime rate - arson, car 
thefts, burglary - is high. 

"Palm Beach is one of the wealthiest towns 
in America, but it's surrounded by very poor 
communities," explains Jose Lambiet, the 
gossip columnist. "The only thing in Royal 
Palm Beach is a McDonald's. These are 
very poor families - alcohol problems, drug 
problems... you name it. Epstein got trou- 
bled youths from a troubled area. That's what 
captured people's attention here." 

Well, that, and the salaciousness of the 
allegations. Such as the claim that Epstein 
boasted of purchasing a "sex slave" named 
Nadia Marcinkova from a family in the former 
Yugoslavia. (There are photographs of her 
online - tall, blonde, elegant - wearing a 
flight attendant's uniform, standing beside 
what appears to be the Lolita Express.) Or 
that he kept an armoire hlled with devices 
such as "The Twin Torpedo" along with a jar 

of peach-flavoured lubricant labelled "Joy 
Jelly". (Epstein's butler, Alfredo Rodriguez, 
had the unenviable job of washing the toys 
after they were left behind on the floor. He 
was also once tasked with delivering a dozen 
roses to a girl still at high school.) There were 
other stories, too - all devoured by the tab- 
loids - that Epstein would orchestrate lesbian 
strap-on sessions between Marcinkova and 
his teenage masseuses while grinding himself 
into his beloved towels. 

Later, Epstein's lawyers explained to the 
police that their client was "very passionate 
about massages". The billionaire had donated 
$100,000 for a massage fund at the Elorida 
Ballet, they said, because he felt they were 
"therapeutic and spiritually sound". 

ury doesn't begin to describe the 
reaction in Palm Beach to Epstein's 
plea deal in 2008. 

It was, by any measure, an 
extraordinarily lenient arrange- 
ment and included a crucial proviso that "the 
US will not institute any criminal charges 
against any potential co-conspirators". 
Not only did this spare Kellen and Robson 
from criminal trials, but it also ensured that 
Prince Andrew and Clinton - and others in 
Epstein's rarifled world - would never be called 
as witnesses. 

Epstein was humiliated, to be sure, and 
many of his friends deserted him, fearing 
scandal by association with a registered sex 
offender. (Rightly so, as Prince Andrew's trou- 
bles have demonstrated.) But it's thought that 
the settlements he has so far made with his 
victims add up to little more than a rounding 
error in his offshore holdings - and he was 
minimally inconvenienced by his stint in jail. 
The worst that happened to him was perhaps 
a video-taped deposition, leaked on YouTube, 
during which he was asked in excruciating 
detail about his allegedly "egg-shaped penis". 
His punishment seems especially mild when 
compared to the similar, more recent case 
of a Elorida man named James Mozie, who 
employed underage females at a home-brothel 
known as the "boom boom room". Mozie got 
life and his girlfriend will be in prison for the 
next 13 years. The couple are black. They 
aren't friends with royalty. Neither of them 
owns an island. Nor, for that matter, a jet. 

It's tempting to look for a Clinton-related 
conspiracy in the Epstein affair, but such 
thinking doesn't bear much scrutiny. Yes, 
Bill Clinton was a frequent flier on The Lolita 
Express, but Epstein's mentor, Wexner, is a 
close friend of George W Bush (they visited 
Jerusalem together) who supported the Iraq 
War and raised money for Mitt Romney. 
Epstein's plea deal, meanwhile, was negotiated 
on his behalf by Ken Starr, the moral puritan 
best known for the Starr Report into the 
Monica Lewinsky scandal, which concluded 
that Clinton had lied under oath. Epstein's 

324 GQ OCTOBER 2015 


downfall, in other words, has uncomfort- 
able connections to both Republicans and 
Democrats alike. Which perhaps explains 
why the story has been ignored with regards 
to Hillary Clinton's run for the presidency in 
2016. "The only potential benefit [to her oppo- 
nents] is if it helps build an ongoing narrative 
about super-rich friends and donor influence 
- but the Republicans have their own skele- 
tons to hide," says Simon Radford, a British 
political scientist at the University of Southern 
California, who has worked as a "message 
architect" for high-prohle US candidates. 

Meanwhile, the prosecutor in Florida who 
agreed to Epstein's plea deal has argued that 
his decision was based on the risk of not 
getting any conviction at all if the case had 
gone to trial. 

There's no doubt that some of the girls - 
young, inarticulate, perhaps not too bright, 
with dysfunctional families and poor deci- 
sion-making skills - would have struggled to 
withstand questioning by some of the world's 
most expensive lawyers. This, of course, is 
why sexual predators usually target vulner- 
able women, and not, say, the daughters of 
senators. But Epstein would have argued 
that billionaires are vulnerable, too. That the 
girls and their pro bono lawyers only wanted 
his money. 

Epstein, a generous donor to the Palm Beach 
Police department, also had the beneht of 
limited physical evidence. For this, he could 
thank his butler, Rodriguez, who told police 
that he didn't know the whereabouts of the 
little black book, which contained the names, 
addresses and numbers of his underage mas- 
seuses. Rodriguez later tried to sell the book 
(what he called the "holy grail") for $50,000 
to the lawyers representing the billionaires' 
victims. The lawyers instead tipped off the 
FBI, who sent an undercover agent to pose 
as the buyer, before cuffing Rodriguez after 
the money changed hands. "If this book had 
been produced when requested, Mr Epstein's 
sentence may have been signihcantly differ- 
ent," said the judge who gave Rodriguez an 
18 -month sentence in federal prison - a far 
more daunting prospect than Epstein's 13 
months in county jail. 

Rodriguez said in court papers that he had 
kept the book as an "insurance policy" to stop 
Epstein making him "disappear". He died from 
a rare type of cancer in January. He was 60 
years old. 

Heavily redacted copies of the "holy grail" 
have since been published. There were 21 
numbers for Clinton; others for Tony Blair; 
the former Israeli prime minister, Ehud Barak; 
and Larry Summers, a former treasury secre- 
tary and president of Harvard. All of which 
you'd expect of a well-connected billionaire. 

Rodriguez's circling of various entries has 
never been explained, however - and ques- 
tioning him about it now may prove a tad 
difficult. Ironically enough, the black book. 

along with The Lolita Express' flight logs - 
which are maddeningly vague and probably 
incomplete - would not have made it into the 
public domain if Epstein hadn't tried to sue 
one of the lawyers of the victims, claiming 
a racketeering scheme. More such collateral 
damage will no doubt result from the discov- 
ery process in the defamation cases involving 
Dershowitz, not to mention the lawsuit hied 
against Epstein by Jean-Luc Brunei, owner of 
MC2, the modelling agency. 

Which brings us to the main reason why 
the Epstein affair is months or years away 
from being fully played out. Under the US 
Crime Victims' Rights Act, passed in 2004 by 
President Bush, the underage girls who were 
paid for sex by Epstein have the right to be 
"reasonably heard" in a plea deal. But in a case 
known as Two Jane Does vs US, the victims' 
lawyers (who didn't respond to repeated inter- 
view requests from GQ) argue that Epstein's 
pact was kept a secret from them. The legal 
saga has been rumbling on since 2008 and 
has so far proved unstoppable, in spite of loud 
protests by the US Justice Department. Even 
when Virginia Roberts' effort to join Two Jane 
Does as a plaintiff failed, the court said it was 
only because her allegations were "immaterial 
and impertinent to the central claim". 

The next shoe to drop is likely to be emails 
between Epstein, his lawyers and prosecutors, 
which the court has said can be unsealed on 
the condition there's a good reason, and it's 
not done for the sole purpose of embarrass- 
ment. "My gut feeling is you're not going 
to see them in one big swoop," says Jose 
Lambiet, who was the first to report the 
ruling at the end of April. "They might show 
up in different pleadings, here and there, 
over some time." 

Some think the case is still a long shot, given 
Epstein's wealth and connections. "Epstein 
was and continues to be protected by very 
powerful people," argues one victims' rights 
activist, who asked not to be named. "The 
attorneys representing the victims will have to 
be patient, focused, and courageous." 

All bets are off, however, if the Jane 
Does succeed. 

E pstein can't be prosecuted for the 
same crimes a second time under 
the US "double jeopardy" law. 
But if the Jane Does do prevail, 
the case will be broken wide open 
again, much to the discomfort of President 
Clinton and Prince Andrew, who has already 
given up his role as Britain's trade envoy 
since the scandal. "It's impossible to know 
[what would happen]," admits Dershowitz, 
who has ended his friendship with Epstein. 
"Maybe the young women [who settled with 
him] would have to give the money back. 
Then maybe they could sue him again. It's 
very hard to see what a remedy would be." 
Dershowitz is dismissive of suggestions that 

the victims' lawyers are trying to hurt Hillary 
Clinton - after all, their team includes the likes 
of David Boies, who argued for A1 Gore during 
Bush vs Gore. "I think the motive is money," 
he says. "But politics could become a means 
to get the money." 

In an election year, that could get very 
ugly indeed. 

Meanwhile, neither the Clintons nor the 
prince have helped themselves much in terms 
of keeping the tabloids at bay. The Clintons 
invited Ghislaine Maxwell (currently selling 
her New York home for about £llm) to their 
daughter, Chelsea's, wedding in 2010. The 
prince, meanwhile, attended a post-jail party 
that Epstein threw a few months later with 
Woody Allen and the TV anchor George 
Stephanopoulos, a former advisor to the 
Clintons, who was recently exposed as a donor 
to the family's scandal-plagued foundation. In 
what was either a staggering lapse of judge- 
ment or a bloody-minded display of loyalty 
to an old friend, Andrew was photographed 
with Epstein strolling through Central Park 
that weekend. In maximum contrast, Epstein's 
alleged former madam and "sex slave" - Kellen 
and Marcinkova respectively - have gone to 
ground and assumed new identities. They 
haven't given up their taste for the good life, 
however. Kellen is thought to have taken the 
name "Sarah Kensington" and started to date 
Brian Vickers, a famous Nascar driver. 

Dershowitz, like others whose lives have 
been disrupted by the scandal, insists that 
he doesn't rue the day that he crossed paths 
with Epstein. "I met a lot of interesting people 
through him, so it's hard to regret," he explains 
to GQ. "I had dinners with Nobel prize winners, 
with astronauts, with presidents of universi- 
ties." It was thanks to Epstein, adds Dershowitz, 
that he got to accompany Prince Andrew to a 
birthday party for Lord Rothschild, the Eton- 
educated investment banker and to another 
dinner with a senior British diplomat. 

The sixth-in-line to the throne even took 
part in one of Dershowitz's classes at Harvard. 
Recalls Dershowitz: "He wrote me a letter 
afterwards saying that it was one of the most 
positive experiences of his life - and that he 
hoped that he, Epstein, and me could continue 
to educate each other." A thirst for knowledge, 
he maintains, was what excited him and the 
prince - not Epstein's female companions. "The 
only thing I ever discussed with Prince Andrew 
was the Middle East," he says. "Although he 
did once ask for advice... about playing golf 
with Bill Clinton." ® 


For these related stories, 

► The Commodore Of Love (Chris Ayres, July 2015) 

► The Popcorn Dictator (Chris Ayres, March 2015) 

► Is Dan Bilzerian For Real? (Chris Ayres, 
February 2015) 

OCTOBER 2015 GQ 325 


JM: I told the players we cannot lose three 
nil, it is either 3-3 or 6-0. If it hnishes 3-3, 
we can win a replay. If it is 6-0, that is the 
same as 3-0, we lose, we are out, so we go 
for risks. We were playing four at the back, 
so we go to three at the back and when we 
scored the hrst goal, they became more 
defensive, they should have tried to kill us. 
We hnished it with three strikers. 

AC: What is the difference between 
a Hazard and a Danny Ings [ex-Burnley 
player, now at Liverpool]? 

JM: Hazard is one of the best four or hve 
players in the world. 

AC: Who are the others? 

JM: [Lionel] Messi is on a different 
dimension to everyone else. [Cristiano] 
Ronaldo because of the goals he scores. 
[Andres] Iniesta. And Hazard. 

AC: Why is Messi in a different league? 
JM: Because God decided he would be in 
a different league. 

AC: It is not just God. 

JM: I think so. Pure talent. Do you think any 
manager teaches him anything? People say, 
"Would you dream to coach Messi?" I dream 
to have him in my team but not to coach. 

AC: But [former Barcelona coach] Pep 
Guardiola turned him into a champion. 

JM: He is a champion with everyone. 
Managers can teach him aspects of the game, 
tell him the way they want him to play, but 
he is an individual player. I play against him 
so many times and nobody knows where 
he will play. At Inter, I had a net of players 
organised to try to stop him playing. 

AC: So he is unplayable? 

JM: Not unplayable, but the best. 

AC: How much better were Barcelona 
than everyone else this year? 

JM: They weren't but I think in the semis 
and the hnal they had their best players 
at the highest level, the players who make 
the difference, with a tradition of winning 
the titles and the Champions League. 

AC: You said God gave Messi his talent. 
Are you religious? 

JM: Yes, very. 

AC: What does religion mean to you? 

JM: I believe in God and I speak with Him. 

I try to have a relationship with Him and 
it gives me strength and belief in all I do. 

AC: When you pray do you pray to 
God to help you win? 

JM: Basically not. I pray for my family, for 
our health and happiness, but before a game 
I like to read a couple of pages of the Bible, 
read at random, but if I do not win, I am 
not angry with Him - that is not the point 
of my relationship with Him - but I like to 
feel protected and God protects me. 

AC: What do you read apart from the 
Bible? Are you into books? 

JM: Not much. 

AC: If you are at home, and there is a 
second division German match on the 
telly, will you watch it? 

JM: No. 

AC: Atletico vs Valencia? 

JM: Maybe. 

AC: Bayern vs Barga. 

JM: Not for sure, but yes, almost certainly. 
AC: St Mirren vs Falkirk? 

JM: Ten minutes maybe. I don't have 
much time. 

AC: What do you think your image is? 

JM: What people know is what I am as 
a manager. They don't know me. They 
know I am competitive. I am there to win 
matches. I am not there to be nice or smile 
at people. They probably think this guy 
never smiles, never has a laugh, never has 
funny moments. 

AC: If you are deciding on a substitution 
are you deciding that alone? 

JM: Many times, yes. 

AC: Instinct or data? 

JM: Many times pure instinct. I can prepare 
the game to reduce unpredictability, how do 
we react if they do this, how will we adapt 
if they bring on another striker? The game 
goes at such speed, so instinct is important. 
AC: Are Rui [Mourinho's assistant] and 
the others emboldened to tell you when 
they think you are wrong? 

JM: During the game, no, I don't like to 
share. I like to be myself and go with my 
instinct. During the week I want their 
views on selection or tactics or training. 

AC: Do they tell you when you're wrong? 
JM: It is not that they say I am wrong, 
because I like to get their views hrst. I 
ask what they think and then I tell them 
my ideas, and sometimes there are real 
differences between us but I always say, 
"Don't just tell me you prefer Ramires to 
Fabregas today. Tell me why." Then they 
give me the reasons and I argue and process. 
AC: You said England has the best league. 
Why is the national team so poor? 

JM: I really don't know. Ten years ago I 
knew even less. A great group of players. 

Rio Ferdinand, John Terry, Sol Campbell, 
Jamie Carragher, four of the best defenders 
in Europe, Gary Neville, Ashley Cole, Frank 
Lampard, Steven Gerrard, a young Michael 

Carrick... I don't know. I really, really don't 
know why, with these players, it didn't work. 
AC: But what is your feeling? 

JM: My feeling is such a high level of "don't 
know" that I was almost going there [as 
England manager] . 

AC: As a challenge? 

JM: As a challenge, yes. When I left Chelsea 
in 2007, 1 was almost going because I didn't 
know and I wanted to see if I could hnd 
out and see if it could be changed. 

AC: What stopped you? 

JM: My wife. She told me, "What on earth 
are you going to do as a national coach, no 
matches most weeks?" She was worried 
for me, said it did not ht with who you 
are and your purpose for your life. 

AC: What would you have done? 

JM: I don't know. You can't buy players. You 
cannot say, "I don't have the keeper I want, 
what about that guy in France or Spain or 
Portugal?" You like the players you have or 
you don't, but you are limited. But I loved 
that group of players. Half of them were my 
Chelsea team and then the best of Liverpool 
and Manchester United. My Terry, my 
Wayne Bridge, my Joe Cole, my Lampard, 
my Ashley Cole, then Rio, Gary Neville, 
Gerrard. Wayne Rooney, I don't understand. 
AC: Accepting what your wife said in 
2007, would you like to be a national 
manager one day? 

JM: Yes, but I don't think I could ever like 
the nature of the job, not enough games, 
not enough time with players. 

AC: So why do you want to do it? 

To do a World Cup? 

JM: Yes. I would like to do that with 
Portugal, and if I cannot, then England. 

AC: How do you feel about all the Fifa 
stuff that has emerged, Sepp Blatter 
and the corruption charges? 

JM: What do I think about it? I think we 
don't even know ten per cent of the story. 
AC: You think it is worse than we think? 
JM: Yes. I think it is worse. 

AC: Is football a corrupt game? 

JM: What happens inside the four lines of the 
pitch is not corrupt. I believe in my people, 
my fellow managers, players, referees. I 
believe it is not corrupt when it is protected 
by us. Outside the four lines, we do not have 
influence and the game is not protected by us 
- we are the ones in love with the game. 

AC: But players have taken bribes too. 

JM: Of course. Are there managers or players 
or referees who have been corrupt? Yes. But 
I can't say every politician is corrupt because 
some politicians are corrupt. It is the same. 
AC: You said you thought we knew ten 
per cent of the Fifa story. What is the 
90 per cent? 

JM: Bids, World Cup, gold balls, sponsorships, 
constructions of stadiums and infrastructure. 

I don't know, this is not football - for me 
football is the four lines. 

326 GQ OCTOBER 2015 

AC: Abramovich was part of the 
Russian bid. What if that turns out 
to have been won corruptly? 

JM: Mr Abramovich, that I don't believe. 

AC: You think he is straight? 

JM: Yes. Good man, honest, very respectful. 
AC: Why does he never talk to the media? 
JM: Because he is very clever. 

AC: Have you read Alex Ferguson's book? 
JM: No. 

AC: Do you miss him? 

JM: Yes, because he is a great guy, friend, 
competitor. But we probably communicate 
more now than when we were opponents. 

AC: Are any of the current managers 
personal friends? 

JM: Personal friendship is difficult. It has 
to mean relations outside the game, holidays, 
meet for lunch. But there are many I like 
and I feel they like me, good guys. 

AC: I saw [Real Madrid's 16-year-old] 
Martin 0degaard the other day How do 
you deal with really special young talent? 
JM: First of all I would like not to meet the 
agent, father, mother, cousin, brother. 

AC: Not even mother and father? 

JM: No. The relationship should be player 
and manager, manager and player. There 
are so many people involved in the lives of 
players these days. They want to lead their 
lives through the players and I don't like it. 
AC: Would you ever become a pundit? 

JM: Yes, why not? But a positive pundit. 
Sometimes I joke with our people because 
we do not have a single pundit that hghts for 
us like the others who hght for their colours. 
AC: Marcel Desailly? 

JM: He is not hghting for us. 

AC: Ruud Gullit? 

JM: [Laughs incredulously.) 

AC: Andy Townsend. 

JM: [Shrugs.) 

AC: So you think Gary Neville and 
Jamie Carragher are still pro the teams 
they played for? 

JM: They try not to be. They are very good 
pundits, very honest, very clear, but the 
shirt is what they were with all their lives. 

AC: Have you ever felt like punching 
a journalist? 

JM: I have had the desire, yes. But I never 
did it. Big lies I don't like. Journalism is 
about truth or about opinions. The truth 
should be the basis of the news or it is a 
personal opinion. A lie is not journalism. If 
I was a journalist, I could not live with that. 
AC: What are your hopes for next season 
and what are you doing to achieve it? 

JM: At this moment organising training. 

One session takes me two hours to organise. 
In the last days I am at training session 
number nine, so 18 hours just on that. 

AC: How long will you stay at Chelsea? 
JM: I have two more years on my contract 
and no other club or contract or any amount 
of money would persuade me to leave. © 


like the internet, the secret leaked out and 
suddenly everybody was on it. But for several 
years [dope] was a professional secret. 

★ Do you ever regret taking heroin? 

No, I can't say regret comes into it at all. 
Regret is when I ran out. No, I found it 
quite educating in a way. Also you meet 
people that are different, a lot of them very, 
very talented. I loved hanging around with 
junkies; very interesting is the discerning 
drug taker. Actually that's where education 
should go, rather than just pop this, pop 
that. I was always around Bill Burroughs 
and Robert Fraser, they were junkies, but 
incredibly discreet about it. Incredibly. You 
know, they never went over the top. They 
gauged their thing right. I had some good 
teachers. From my point of view drug- 
taking wasn't some party thing. You used 
them, but you always realised that obviously 
they use you, at the same time. If I got a 
song going and I've been up for two-and-a- 
half days, you need something to hnish the 
damn thing. Tm crashing out. So I was doing 
coke, work another 12 hours, song hnished 

- done. It was a tool. Recreational habits, 
you're obviously aware, but that wasn't the 
main reason for it. It was a tool to enhance 
whatever it was you were doing. 

★ Do you think your music would be 
different without drugs? 

I don't think so. I don't really know. I mean 
it was like all of those saxophone players 
when they found out Charlie Parker took 
smack. They always thought that [the 
dope] was what did it but he played the 
same, stoned or not. It wasn't some magic 
ingredient. I never thought about it like that. 
I didn't even think about the legality of it for 
years. Not until the cops came knocking on 
the door. Then it occurred to me, with a sort 
of Sherlock Holmes attitude towards it, "I'm 
in a brown study." 

★ Did you take any drugs that didn't 
agree with you? 

Strychnine. I didn't know I was taking it. But 
Tm never a big one for speed. It makes me 
edgy and nervous and amphetamine is not 
my thing. At the same time, I do sadly miss 
amphetamines. I was speaking to the doctor 

the other day and you know how many 
billions of dollars it is to develop this drug, 
but how many billions more it cost to take 
the high out? Just so you can't have any fun 
on it. Give the guy a break! 

★ I see you still smoke. Ever wanted 
to stop? 

I don't think so. I've never tried really. I mean 
my best efforts are cutting it down by putting 
the packet in the other room. That way I have 
to think about it then walk to get them. I 
probably cut it down by a third doing that. 

★ So you're a GQ Man Of The Year... 

At least you got the "man" bit right... 

★ Congratulations! 

I can't believe this shit. I mean I imagine the 
board meeting: "Well, what's on the table 
today? Well, we have to decide the man of 
the year..." GQ all sitting around like top 
nobs. "George? No. Elton? No. What about 
Keith Richards? Hold on a minute!" 

★ Who is your man of the year? 

You've come to the right conclusion - what 
can I say. 

★ A politician? 

I never voted. 

★ You're good friends with Bill Clinton... 

Bill and Hillary, yeah. 

★ Are you going to be rooting for Hillary 
then next year? 

Yes because she's a great mate of mine and if 
she's president of the United States, Tm in, 
right? It's them or the Mob isn't it? 

★ You famously snorted your father's 
ashes. When you die would you condone 
your daughters doing the same? 

I'll give them both a straw. 

★ Has Mick heard the new solo record? 
[Laughing.] No, I don't want to disturb him. 

★ Do you care what he thinks? 

Oh yes, because whatever he says I will 
then translate it to know what he really 
means. He'll go, "Mmm, not bad." He'll 
play it like that. 

★ You wrote "You Don't Move Me" about 
your feelings towards Jagger on your 
hrst solo record. Talk Is Cheap. Did you 
ever hnd out what he thought of that 
contentious record? 

Mick's got this incredible ability to blank it 
out. I never got any more feedback. Like it 
didn't exist. At the same time. I've got to say, 
when Mick goes out on his own, solo, Tm 
always expecting something and he just does 
not deliver by himself. Maybe this is one of 
the things that gets right up his snoot. Listen, 
[Mick], you're the greatest in the world, as 
long as you've got The Rolling Stones behind 
you, and I think that rankles him. But it's 
just something I accept about the man. It's 
a point of jocularity among the band. I will 
keep my ear open for any mutterings. 

★ Any blankings... 

Yeah. If he gives me a blank silence I'll know 
he's heard it. © 

Crosseyed Heart is out on 18 September. 

OCTOBER 2015 GQ 327 




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IL Ezra Satol-Wblman i Atelier Hg present Hie Golden Rato Metoflion; 
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IS, Amm. Aw^d - winning jeweflery designer Guflbjdrg Kristin Engvarsdbtrr is the name 
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19. Shop the Nautical look with the New ArKhor Necklace for Hw' (£59) This lovely ar^ affordable gift 
by Herd Haman will be engraved by hand with the name, date ot place of yout choice m their 
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The range of exciting developments currently under construction in the 
capital has never been so diverse. Claire Pilton registers her interest 

k was built in 1904 to provide electricity for the London under- 
ground, but now Lots Road Power Station (1) is the last 
signihcant development site on the north bank of the 
Thames, along that central stretch between Chelsea and the City 
Developer Cheung Kong — whose previous Thames-side schemes, 
Montevetro and Albion Riverside, were designed by Lord Rogers and Lord 
Foster — has appointed Sir Terry Farrell to masterplan this eight-acre site. 
Chelsea Waterfront, SWIO, incorporates 10 new buildings and three new 
bridges over Chelsea Creek that will link the power station to water gardens 
designed by Randle Siddeley Associates. A waterside restaurant, cafes and 
shops will line a mall within the power station, which will also provide 260 of 
the scheme’s 706 homes. Next to the station, with views to Battersea and 
Chelsea Bridges, the first apartments are now trickling onto the market 
through Knight Frank and SaviUs (020 7352 8852). They’re not due for 
completion until mid 2017; prices start from £1.7 million for a one-bedroom 
flat, with three- and four-bedroom family apartments from £2.7 million and 
£3.2 million. Despite the ironic lack of a nearby tube station, Chelsea 
Waterfront is within walking distance of the King’s Road, the river bus at 
Chelsea Harbour and the train station at Imperial Wharf 

Move east to Canary Wharf and within five minutes of the tube sta- 
tion — and five miles from London City airport — Berkeley is developing a 
residential unit, mixed-use scheme at South Dock, El 4. Dubbed London’s 
youngest landmark. South Quay Plaza (2) will include two towers; one 
has 36 storeys, the other has 68 and, at 220m, is destined to become the UK’s 
tallest residential scheme. The scheme is also a first for Foster + Partners who is 
designing both the architecture and interiors. Construction commences in 
January The first phase, where prices start from £490,000 (call 020 3675 
4400), is due for completion in 2020, by which time Crossrail will connect 
Canary Wharf to Heathrow in less than 40 minutes. 

Nine miles from Heathrow and a short walk from Richmond station, the 
view from Richmond HiU is such that it is the only one in England to be 
protected by an Act of Parliament. Here, Eondon Square (0333 666 0102) is 
restoring and redeveloping The Star and G 2 irter (3), a Grade Il-ksted 
landmark that overlooks the Thames and Richmond Park. Having started life 
as an hotel, it was rebuilt to designs by Sir Edwin Cooper RA in 1924 when it 
was opened by Queen Mary and King George V to house injured service 
men. Two years after the care home’s relocation to Surbiton, Eondon Square 
is launching a suitably exclusive collection of 86 apartments and duplexes. Due 

for completion early 2017, the listed terrace garden and grounds will also be 
restored, while the King’s Room, with its ornate mouldings, coffered ceilings and 
fireplaces will be the setting for an opulent spa, pool and fitness suite. 

From the all but rural tranquillity of London’s largest royal park to the 
super-eentral, theatrieaUy eharged marketplaee that is Govent Garden (4): 
more than 90 new brands have joined this vibrant estate sinee Gapeo (020 
7 395 1 350) beeame prineipal landowner in 2006. During that time, Gapeo has 
ehampioned Govent Garden’s relatively newfound prime residential status, 
aehieving an average £2,850 per sq ft. \\5th 28 projeets eurrently on the 
go. Kings Gourt is Gapeo’s largest to date; introdueing a walk-way through 
from Long Aere in the north via Floral Street to King Street in the south it 
win, eome 2017, provide two restaurants, nine retail units and 45 apartments 
for rental. Gapeo is letting properties more quiekly than it ean do them 
up, at annual rents of eirea £70 to £85 per sq ft. Ranging from 700sq ft 
studios to 5,000sq ft penthouses. Kings Gourt will eombine newly built 
eontemporary warehouse-style aeeommodation with handsome Grade II- 
listed period ofhee eonversions. 

On dapper Jermyn Street (5), St James’s, SWl, the ofhee spaee above 
British elothing designer Daks is being redeveloped by Dukelease to provide a 

boutique seheme of eight apartments. Named after Beau Brummel, the 
arbiter of men’s fashion in the 1700s whose statue graees Jermyn Street, 
Beau House will be elad in a striking limestone fagade with bronze detailing; 
a disereet entranee will aeeess an opulent lobby providing hve-star eoneierge. 
Launehing to the market when eompleted early next year, antieipated 
priees start from £2 million. The 3,000sq ft duplex penthouse, whieh has 
l,000sq ft of terraees, will be designed and dressed throughout by Oliver 
Burns. Baehelor boys and uptown girls with some £15 million up their 
sleeves should register their interest with Garter Jonas (020 7493 0676) and 
GBRE (020 7240 2255). 

Alternatively, in the new ‘destination neighbourhood’ of Fitzrovia, 
Great Portland Estates (020 7580 1 100) has eight penthouses at Rathbone 
Square (6), that range from £4.475 million to £7.6 million, \\5th eompletion 
not seheduled until early 2017 (a year before Grossrail’s arrival around the 
eorner at Tottenham Gourt Road), sales here are nudging £230 million and 
averaging £1,886 per sq ft; over half the 132 buyers are British. Designed 
inside and out by Make, it is the largest of GPE’s six sehemes in the West 
End. Wateh this spaee for news of its next development aeross the road from 
Gonde Nast’s HQ^, aka Tottie Towers, in Hanover Square, Wl. 

*Price and details correct at time of going to print. ^ 

Computer enhanced image of One Blackfriars is indicative only. 

eley Group of companies 

020 3411 2692 ^ 

Prices from £2,330,000 




One Blackfriars rises 50 storeys high offering panoramic views over the capital's historic landmarks 



A substantial detached house sitting on a plot of over an acre, situated 
on a private, gated road with 24 hour security. The house offers 
approxinnately 22,775 sq ft of luxurious accommodation and benefits 
from a lift, cinema, exceptional leisure facilities and extensive off street 
and underground car parking. 



Just 10 miles from Canary Wharf, Sundridge Park is approached along a half-mile secluded 
driveway which effortlessly meanders through two renowned i8 hole golf courses and ancient 
woodlands, into a world of timeless elegance. This exclusive development of luxury classically- 

styled apartments, townhouses and detached houses is set in 275 acres of Kentish parkland 

landscape designed by Humphry Repton. 

Apartments from £695,000 I Townhouses from £1.25 million 
Show home open, 10am - 4pm, 7 days a week 
020 8313 9163 










Rode, Somerset 

Guide Price: 600, 000 

A stunning Grade II* listed house with a large secret 
garden set in the charming village of Rode 

I entrance hall with cantilevered staircase | Georgian 
drawingroom | diningroom | kitchen | pantry/utility | 
master bedroom with en suite bathroom | 5 further 
bedrooms | 2 further bathrooms | terrace | garden 
(approximately 0.48 acres) | off street parking for 4 cars 
I 15 mins from Westbury Station (1 hr 20 to Paddington) 
18 mins from Babington House 

01225 789333 





• River Tower at One Nine Elms will be central London’s 
only residential tower to be fully serviced by a five-star luxury hotel 

[ PRICES FROM £1. 3m 

■ . ' j 

; ■ ' 1, 2 and 3 bedroom apartments 

' . serviced by the five-star Wanda Vista hotel 



, STRun 

+ 44 (0)20 3745 5858 



On your doorstep... 
Gyms & Health Clubs 

Live close to our favorite gyms in Lone 

The Wishlist 

Londons most sought after propierties 

We speak to Daniel Daggt 

Super prime, super bespoke 

Welcome to 


Fashion, music, food, film. . . whatever your passdon, London is 
the city that never stands still This constant evolution is what 
attracts people from all over the world, and that same sense of 
vitality is just as evident in the capitaFs property market 

While the headlines in recent years have focussed on rising prices and international buyers, the London 
property market has evolved and the picture in 2015 is more nuanced as price growth has moderated. 
May’s general election introduced an element of uncertainty that dampened activity in the sales market 
and, to a lesser degree, in the letting market. 

With a majority government now in place for the next five years and the prospect of a Mansion Tax 
having receded, some degree of pent-up demand has been released and there are signs of stronger 
activity. However, a recent increase in stamp duty is still being absorbed by buyers and sellers, which 
has cooled price growth. Despite the shifting regulatory and macro-economic backdrop, prime central 
remains as a safe haven for Buyers around the world. 

New developments with best-in-class amenities are in particularly high demand and Knight Frank now 
has sales and lettings teams in key developments including One Tower Bridge, Goodman’s Fields 
and King’s Cross. On the rental side, renewed confidence in London as a financial capital - in part 
due to George Osborne’s relaxing of the bank levy - is likely to underpin demand. 

Overall, there is a feeling that London’s maturing economy is fostering a sensible, stable property market; 
one characterised by steady not stratospheric growth. Behind this summary there are countless individual 
stories and characters that play their part in shaping this ever-changing property market. We’ve looked at 
a few in the following pages, alongside some of the top properties currently available throughout the capital 
(go to to see more). 

There’s our piece on the rise and rise of studio living in the city. At the other end of the scale, super prime 
property agent Daniel Daggers talks us through his latest projects. We also take a look at some of the city’s 
best health clubs in our regular London View ‘On your doorstep’ feature. 

We hope you enjoy this quick panorama of the capital’s property market and look forward to catching 
up with you in the next instalment of London View. 

Noel Flint, Partner, Head of London Sales 
Tim Hyatt, Partner, Head of London Lettings 

U Frank 

On your doorstep... 
Gyms & Health Clubs 

Live close to our favorite gyms in London 

Small is 



London's most sought after properties 

We speak to 
Daniel Daggers 

Super prime, super bespoke 

The rise of studio living 

Small is 


Ormonde Gate, Guide price: /^695 per week 
Knight Frank Knightsbridge, lettings +44 20 3463 0235 

The Central London 

pied a terre is ertjoying a 
resurgence. With studios 
and one-bed flats being 
snapped up faster than 
ever, Londoners 
embracing the 
of scaled-down 

idvert cement Feat ire 

Belsize Grove, Guide prici 
Knight Frank Belsize Park, sa^ 

i L:750,000 

’ fs +44 20 8022 4034 

Choose well and your spaoe oan punoh above its size. With olever storage, 
big windows and good views, there’s no reason to suffer from oabin fever. 
Restaurants and safes on the doorstep oan beoome your living room, 
and when there’s a park nearby who needs a garden? Trading size for 
looation oan be a great way to live in some of London’s most desirable 
neighbourhoods, but who’s driving this trend? 

The commuter’s choice 

Resent years have seen families in their droves sashing in and deoamping to 
the oountryside. . .or the oommuter belt at least. It oould be the reality of the 
daily 7:03 to Waterloo or simply an unwillingness to out ties with the oapital 
oompletely, but many are ohoosing to also buy ‘a little plaoe in town’ with the 
ohange from their London sale. 

The bank of mum and dad 

Then there are the parents faoed with having to foot high monthly rent bills for 
ohildren starting out in London. With the ohoioe between a orowded flatshare 
and a private spaoe - albeit a small one - buying a studio has its obvious 
attraotions. And with these properties at more affordable prise levels in the 
most ohi-ohi postoodes, it’s a great way to get the ohildren onto the housing 
ladder in a good part of town. 

Trading size for location can be a 
great wqp to live in some of London’s 
most desirable rwighbourhoods, 
but who’s driving this trend? 

Big returns 

For investors, the bottom line is king. The relatively low purohase oost of studios 
and high Central London rents oan oombine to deliver exoellent yields, along 
with the oapital growth that the oity oontinues to deliver. 

So for many, small really is beautiful. Whether it’s somewhere to stay after a late 
night at the offioe, a prized first home or a sound investment, sealed-down living 
seems to be here to stay. 

generated image for indicative purposes only. 

Ebury Street, Guide price: £595 per week 
Knight Frank Belgravia, lettings +44 20 3463 0242 

Studdridge Street, Guide price: 250, 000 
Knight Frank Fulham, sales +44 20 8022 4036 

Arnhem Wharf, Guide price: ^^995,000 
Knight Frank Canary Wharf, sales +44 20 3463 0231 

The property • T T • 


Frere Street, Guide price: £665,000 
Knight Frank Battersea, sales +44 20 3328 6541 

Aldridge Road Villas, Guide price: 250,000 

Knight Frank Notting Hill, sales +44 20 3463 0126 

Chiswick Green Studios, Guide price: /^l, 499, 950 
Knight Frank Chiswick, sales +44 20 3463 0086 

Logan Place, Guide price: /^2, 995, 000 
Knight Frank Kensington, sales +44 20 3463 0308 

Advertisement Feature 

The Vineyard, Guide price: ;^1,495,000 North Side Wandsworth Common, Guide price: /^1,500 per week 

Knight Frank Richmond, sales +44 20 3463 0331 Knight Frank Clapham, lettings +44 20 3463 0077 

Elm Park Road, Guide price: /^1,550 per week 
Knight Frank Chelsea, lettings +44 20 3463 0150 

Ebury Street, Guide price: /^2,200 per week 
Knight Frank Belgravia, lettings +44 20 3463 0242 

Whether you are kokingfor a baehehr pad 
in the city or a famdy home further afield, 
with with strategically placed offices across 
London we can help you findyour dream home. 

Daniel Daggers from our super prime team 
has picked his top 12 properties for sale and 
kt across London. 

Read his interview on seiiing property to the super rich. 

Northampton Park, Guide price: £1,950 per week 
Knight Frank Islington, lettings +44 20 3463 0068 

Ridge Road, Guide price: £1,595 per week 
Knight Frank Hampstead, lettings +44 20 3463 0225 


Frame - Queen’s Park 

If you like your work-out with a bit more attitude, 
Frame in Queen's Park is the plaee. Fitness, dance 
and yoga are the order of the day, with personal 
training tailored to the individual. Their all-round 
approach means you also get advice on things like 
mental wellness and healthy eating. 

Braxjingbn Mews - Qmen's Park 

One of seven freehold houses situated in a private, 
gated mews with off street parking and roof terrace 
in the heart of Queen's Park, W9. 

Guide price: ^^1, 195,000 

Knight Frank Queen's Park, sales +44 20 8022 4037 

On your doorstep... 

The South Kensington Club - Chelsea 

Billed as a ‘re- energising escape from the crazy 
pace of London life’, this stylish new private 
members club occupies a former music hall and 
adjoining mews. The gym/spa/yoga offering is 
state of the art and holistic, while the wellness facilities 
include a traditional Russian banya and Turkish 
hammam plus London’s first salt water Watsu Pool. 

Advertisement Feature 

Equinox - Kensington 

This stateside import gets the nod from Baraek Obama 
and Cameron Diaz, so it’s off to a pretty good start. 
Walnut panelling gives the plaee a pleasantly elubby 
feel, but with maehines like the AlterG anti-gravity 
treadmill whieh stimulates 20% of your body weight 
— this is as futuristie as a work-out gets 

It^s the stylish way to get 
in shape. Half member^s 
club, half uber-gym 
-private health clubs offer 
the best of all worlds, and 
London has some of the 
bestyoudlfind. Bforeyou 
stump up for membership, 
though, take a look at these 
hip health offerings from 
around the city. 

Edith Terrace - Chelsea 

A meticulously refurbished five bedroom 
family house with flexible accommodation 
and a large south facing garden. 

Guide price: £4,250,000 

Knight Frank Chelsea, sales F44 20 3463 0149 

Adam and Eve Mews - Kensington 

A newly refurbished three bedroom mews house 
with garage in W8, elose to Equinox Gym. 

Guide price: £3,500,000 

Knight Frank Kensington, sales +44 20 3463 0308 


r' > 

Daniel Daggers has one of the 
most unique jobs in London's 
luxury residential market. 

Property above: 
Lyndhurst Road 
7 bedrooms 
Guide price: /^40, 000, 000 

Prime Central London Team 
+44 20 8022 6171 

he Knight Frank partner is the newest 
member of their Prime Central London Team, 
a unique service which deals only with the 
Super-Prime market. This can be transactions for 
single homes starting at £10 million up to and above 
£200m. "I meet with some of the most influential and 
talented people in the world, whilst seeing the best 
property and design that the Capital can provide." 

In a multi-agency business, with Knight Frank offices 
across London, Daggers is a useful, single point of 
contact for busy billionaires looking for the perfect 
des res. "Some of our buyers are new to London and 
aren't sure of exactly what they are looking for, let 
alone exactly where they want to be". The market is 
increasingly product driven; whether it is a penthouse 
apartment with a view of London's spectacular 
skyline, a home with an internal garage for 10 cars or 
a house with views over a golf course. Daggers can 
help buyers locate it. Fie gives the Fligh Net Worth 
buyer an individual, tailored approach: "London is 
the playground for the super-rich and we're their 
guide in all that it has to offer" says the 35 year old. 

Daggers is not restricted to residential property ■ 
in London. "It's important to know how markets 

are perfor nn i ng acr oss the-glober^artloyla r l y _ - 

in the destinations our High Net Worth clients 
tend to be" and with Knight Frank's global 
coverage of 370 offices. Daggers has an insight 
into property markets around the world and the 
best properties available in those markets. 

Working for the most discerning client base 
sometimes[entails travelling and advising on homes 
abroad. "In a job like this it is a necessity to be 
available af any time of the day. Mornings might 
consist of calls to the Far East, with evenings 
dedicated to clients and buyers in the U.S". 

Always discreet Daggers says only that his "buyers' 
and clients' average age is getting younger and 
that they are more often than not, the best in their 
field. It follows that they very much want the best that 
their money can buy and that's why they find us". 


lent 'Feature 

Advertisement Feature 



Head of London sales - Noel Flint 

Head of London lettings - Tim Hyatt 
tim. hyatt@knightfrank. eom 

Head of Country - David Peters 
david.peters@knightfrank. eom 

London Sales 

Central - Caroline Foord 
earoline.foord@knightfrank. eom 

Central - Eliza Leigh 

North and East - James Simpson 
j ames. simpson@knightfrank. eom 

South West - Luke Ellwood 
luke. ellwood@knightfrank. eom 

London Lettings 

Central - David Mumby 
david. mumby@knightfrank. eom 

Central - Juliet Hill 
j uliet. hill@knightfr ank. eom 

North and East - Gary Hall 
gary. hall@knightfrank. eom 

South West - Ruth Barr 
ruth . b ar r @knightfr ank. eom 

+44 20 8022 6171 

Important Notice 

1 . The particulars in this general report are not an offer or contract, nor part of one. Neither Knight Frank LLP nor any joint agent has any authority to make any representations about any property and details may have been 
provided by third parties without verification. Accordingly, any statements by Knight Frank LLP or any joint agent in this report or by word of mouth or in writing (‘information’) are made entirely without responsibility on the 
part of the agents, seller(s) or lessor(s). You cannot rely on the whole or any part/s of this document (“Information”) in any way. You must make your own independent enquiries, inspections and searches and take your own 
independent professional advice. You cannot also rely on any such information as being factually accurate about any property, its condition, its value or otherwise. The Information is not definitive and is not intended to give 
advice about properties, markets, policies, taxes, currencies or any other matters. The Information may not be accurate and all of the subject matter may change without notice. This report is published for general outline 
information only and is not to be relied upon in any way. So far as applicable laws allow, neither we nor any of our members, consultants, ‘partners’ or employees will have any responsibility or liability in connection with or 
arising out of the accuracy or completeness or otherwise of the Information or the reasonableness of any assumption we have made or any information included in the document or for any loss or damage resulting from 
any use of or reference to the Information. As a general report, this material does not necessarily represent the view of Knight Frank LLP in relation to particular properties or projects. 2. You must take independent advice 
and satisfy yourself by appropriate inspections, surveys, searches and enquiries about all matters relating to any property, including the correctness and completeness of any information. 3. Computer-generated images are 
indicative only. Photographs show only certain parts of any property as they appeared at the time they were taken. Areas, dimensions and distances given cannot be relied upon and are approximate only; you must rely upon 
your own inspections and surveys. 4. Any reference to alterations to, or use of, any part of any property does not mean that any necessary listed building, planning, building regulations or other consent has been obtained. 
You must rely upon your own inspections, searches and enquiries. 5. The VAT position relating to any property (where applicable) may change without notice. VAT and other taxes may be payable in addition to the purchase 
price of any property according to the national or local law applicable. 6. Copyright 2015. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any 
means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from Knight Frank LLP for the same, including in the case of reproduction prior written approval of Knight Frank LLP 
to the specific form and content within which it appears. 7. Knight Frank LLP is a limited liability partnership registered in England with registered number OC305934. Our registered office is 55 Baker Street, London, W1 U 
SAN, where you may look at a list of members’ names. 






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T •Aa lass SS 6 e# | OFFlC£A^PinSTIC]TaiO£H£L.COM 

LAUNCHING 24.09. £015 






The yachts are getting bigger. The season is getting longer. Claire Pilton discovers a choice 
of world-class coastal schemes along this rolling Mediterranean riviera 

W ord Byron was right. The Montenegrin eoastline really is ‘the most beautiful eneounter between land 
a and sea’. With its mountainous baekdrop, butterfly-shaped bay and 19 blue-flag beaehes, the best way to 

^ ^appreeiate this 200-mile shoreline is by boat; owning one is fast beeoming de rigeur in what is still a 

new holiday-home destination where warships have only reeently been replaeed by superyaehts. Montenegro is 
shrugging off the shadow of Communism in style. Next year it eelebrates a deeade of independenee — and the 
opportunity to retain its ranking as one of the fastest-growing tourist destinations in the world. 


Budva’s old town buzzes night and day. A 
stone’s throw from the main square and 
marina, Dukley Residenees offers a mix of 36 
pied-a-terre, apartments and loft-style pent- 
houses prieed from €300,000 to €1,500,000. 
The developers behind the Dukley brand 
eontrol over 80% of Budva’s waterfront, 
ineluding the marina, where proposed hotels 
and branded residenees will make this the 
Monte Carlo of the Adriatie. 


In the UNESCO-proteeted Venetian walled 
eity of Kotor, unmodernised apartments start 
from €l,600/m2. Done up, they ean aehieve 
the best rental yields along the eoast, reports 
Savills’ assoeiates Dream Estates Montenegro, 
whieh expeets strong appreeiation over the 
next five years. On the main square, a two- 
bedroom flat eosts €120,000, as does a large 
one-bedroom apartment by the shore at 

Currently the only buying agent in Monte- 
negro, MRAY Consulting provides a seeure 
and transparent entry into this still young but 
fast growing market. The eompany saves 
elients time and hassle by soureing all 
available options both from selling agents and 
off-market, and presenting only legally and 
flnaneially elean properties. It also offers full 
arehiteetural serviees and furniture supply. 
WWW. mrayconsulting. weekly, com 


The visionary redevelopment of a former Yugoslavian naval cruising in the Mediterranean basin. Porto Montenegro 
base in the Bay of Kotor saw the launch of the spectacular currently offers 400 berths of up to 180m, as well as 50 
Porto Montenegro marina in 2009. With its sparkling restaurants, bars and shops, a five-star Regent Hotel and 130 
location in the UNESCO-protected bay (ids home to some sold-out apartments. Next up: the Regent Pool Club 
incredibly well-preserved medieval buildings and fortifications). Residences, from €409, 000 to €3, 720, 000, which offer un- 
there is direct access to the Adriatic and some of the best obstructed sea and mountain views, 


The exclusive seaside estate and 
sanctuary of lushly landscaped 
Dukley Gardens is now complete 
and over 70% sold. Set on Budva 
Riviera’s Zavala peninsula, the 
204 water-fronting residences are 
cut into the rock across 36 apart- 
ment buildings. They and the 
development’s dreamy Beach 
Lounge and Restaurant enjoy 
panoramic views of the Adriatic 
coast to Budva old town and 
Dukley Marina, just a five-minute 
water-taxi away. Prices currently 

range from €700,000 up to 
€3,500,000 for a three-bedroom 
penthouse whose roof terrace 
comes equipped with a Jacuzzi, 
shower and summer kitchen. 


Lustica Bay welcomed its first homeowners this 
summer. Overlooking the Adriatic at Traste Bay, this 
low-density, 690-acre coastal scheme is as focused on 
protecting the local environment as providing a high- spec 
haven for residents. Integrated into the landscape and 
inspired by the architecture of surrounding villages, the 
initial phase will comprise a 176-berth marina with 
shops, restaurants, two hotels and Montenegro^s first 
18 -hole Gary Player-designed golf course. And 300 
LEED-certified apartments, 14 townhouses and four 
bespoke villas are being built beside the marina or on 
the hillside above. Prices range from €235,000 t o ^ 
€3,000,00 0. WWW. lusticabay. 



Two superb new London villas located 
in one of Highgate’s most historic and 
prestigious roads. 

Designed to the very highest specification 
and finish, these homes offer exceptional 
accommodation each with 5 bedrooms, 
a lift, a cinema, gym and separate 
studio apartment. 

Highgate Village sits on a London 
hill-top from which residents enjoy 
panoramic views over the city. The village 
with its independent shops and cafe culture 
is arguably the most charming of 
London’s villages. 

Prices from ;^8. 95m 

The Grove, Highgate 
London N6 6LB 

Glentree International: 020 8458 7311 

A glentree 


Octagon has other fine properties for sale in 
North London and the Home Counties with 
prices currently ranging from £3.25m. 

Please see our website for details. 

The Society for 
the Protection of 
Ancient Buildings 

Founded by William Morris, the SPAB protects 
the historic environment from decay, damage and 
demolition. It responds to threats to old buildings, 
trains building professionals, craftspeople, 
homeowners and volunteers and gives advice about 
maintenance and repairs. Since 1877 countless 
buildings have been saved for future generations. 

Information about maintaining your home is available through events, courses, lectures, 
publications and telephone advice. 

To support our work why not join the SPAB? Members receive a quarterly magazine, our 
list of historic properties for sale and access to our regional activities. 020 7377 1644 

A charitable company limited by ficarantee registered In England S Wales, 

Company no: 5743962 Charity no: 1113753 37 Spital Square, London El 6DY 

Drawing of St Dunstan-in-tbe-West by SPAS Scholar Rolomy Dean 



Rosemary Brooke has the inside traek on this month’s property highlights 

If you^ve always hankered after a superyacht but want to stay on terra firma, this sleekly 
contemporary house at Rum Point on Grand Cayman sports ocean-going looks and has 
sea views from every room. Designed by Nicholas Tye Architects, the four-bedroom 

Camden House has thrillingly 
stylish design throughout, with an 
infinity pool and even its own i 
party deck on the roof terrace. M 
Price $6,850,000, Savills 
(020 70163740) 




If you’re hunting for a second home and are 
trying to track down the best international 
developments, then a new property website,, is certainly worth 
exploring It focuses specifically on residential 
and resort property, allowing developers to 
connect directly with potential buyers. The site is 
simple to navigate and free to use. ‘We only charge 
a fee if a lead we deliver is turned into a sale. No 
sale, no fee,’ says the company’s founder, Charlie 
Smith, pictured, a former UK managing director 
of Sotheby’s International Realty. Whether you’re 
an adventure-seeker, a sun-worshipper or seek- 
ing a city pad, the site has each lifestyle choice 
covered. www.prvmeriewdevelopinerits. com 

Hidden gem 

Tucked away down a 
quiet country lane at the 
edge of the picturesque 
village of Binfield, this 
Victorian house provides 
cosy, rural charm within 
commuting distance of 
London. With Heathrow 
airport a 30-minute drive 
away and excellent 
schools in the area, this 
five-bedroom house is a 
perfect base for busy 
families. At more than 
2,600sq ft, there’s plenty 

of space to relax. Outside, 
there are uninterrupted 
views across the surround- 
ing farmland and three- 
quarters of an acre of 
lovely, mature gardens. 
It’s priced at £1,250,000; 
for further information, 
contact Sara Batting on 
0118 950 2341 or visit 
WWW. sarabatting. co. uk 

From Georgian townhouses to 
modern penthouses, Victorian 
rectories to neoclassical manor 
house, the UK offers a lively 
mix of places to call home. 
With interest rates remaining 
low and a flurry of post- 
election activity, buyers are 
turning to acquisition agents 
for guidance. Hhe market 
has been unsettled and this 
makes it hard for buyers to 
navigate through the vast 
array of choice available,^ 
says Charlie Wells, manag- 
ing director of buying agency 
Prime Purchase. His advice? 
‘Choose a knowledgeable agent 
who is part of a big team 
— they can draw on their 
collective market expertise so 
that any property purchase is 
also an investment.^ www. 
prime-purchase, com 



Taking the measurements of the GQ world 

The best record shops (that sell more than records) 


70 Queens Road, Bristol BS8 1QU 
Doubles as: A concert venue 

SPECIALITY: Jungle and drum'n'bass, plus a 
smattering of new classical and post punk 
FAMOUS CUSTOMERS: Stewart Lee, Milton 
Jones, Goldie Lookin Chain 
VINYL STOCK: 1,500+ 

BUT IT ALSO HOLDS: Exclusive previews of 
albums, such as its hrst listen of Jamie xx's 
In Colour 

TEST YOUR KNOWLEDGE: In its monthly quiz 
VISIT: Its two satellite branches in 
Cheltenham and Worcester 


10 Olive Street, Sunderland, SRI 3PE 
Doubles as: An art gallery 


OWNED BY: Indie rockers Frankie & 

The Heartstrings 

ALSO SELLS: Frankie & The Heartstrings' 
golden ale, stereograms and a collection 
of vintage clothes 

VINYL STOCK: More than 20,000, with an 
emphasis on indie and modern rock 
LEITMOTIF: Exhibitions in the gallery 
focus on the relationship between people 
and vinyl 

LATEST SHOW: New York-based multimedia 
artist Ella Barnes 


13 Conduit Street, London W1 
Doubles as: A rock-inspired fashion powerhouse 

johnvarvatos. com 

700: Records in store, ranging from classic 
rock through to soul and jazz 
TOP FLOOR: The only place you can buy 
a John Varvatos made-to-measure suit 
one of the iconic leather jackets 
BASEMENT: Houses the largest collection of 
Fender Custom Shop guitars in Europe 
ALSO SELLS: A wide range of restored audio 
equipment from the Seventies, including 
Sansui amps and Thorens turntables 
SPECIALITY: Rock, soul and jazz 


278 Portobello Rd, London W10 
Doubles as: A record label 

WORLD MUSIC: Honest Jon's was one of the 
major driving forces in London's reggae scene 
ALSO SPECIALISES IN: Jazz and blues 
FOUNDED IN: 1974, making it one of London's 
oldest-surviving record stores 
DAMON ALBARN: Co -manages the store's 
self-titled record label 
72: The number of vinyl releases on Honest 
Jon's label so far 

ARTISTS INCLUDE: Shackleton and Terry Hall 
MO' WAX: This other label was set up after 
the owners funded employee James Lavelle 


5A Stevenson Square, Manchester Ml 1FN 
Doubles as: A coffee house 

easternblocrecords. com 

UNION COFFEE: The roasting whizzes behind 

Eastern Bloc's own blend 

£1.70: Price of a single espresso 

VINYL STOCK: More than 15,000 

SPECIALITY: White-label techno and house 

DJ SETS: Todd Terje, DJ Marky and Carl Craig 

have all played in-store 

300: Number of pressings to which Eastern 

Bloc's rare white label electronic records are 

typically limited 

FAMOUS SHOPPERS: Laurent Gamier, Sasha 
and Derrick Carter 




1 Lansdown Place, Lewes, East Sussex BN7 2JT 
Doubles as: A musical instrument suppiier 

unionmusicstore. com 

35 Howard Street, Giasgow G1 4BA 
Doubies as: A one-stop shop for DJ kit 

rubadubrecords. co. uk 

61 Castie Road, Southsea P05 3AY 
Doubies as: No prizes for guessing... 

piean dvinyi. co. uk 

50+: Different types of guitars, mandolins, 
banjos, ukuleles and harmonicas on sale 
PLUS: Kazoos 

FAMOUS CUSTOMERS: Mumford & Sons and, 
er, David Dimbleby 

400+: Records from the folk, country and 
Americana genres 

ALSO: Union record label artists are favourites 
of the burgeoning UK country scene 
3PM: Every Saturday, Union Music hosts 
live gigs 

35: Capacity, so arrive early 

24: The number of different decks available 
£599: Price of a Pioneer PLX-1000, loosely 
based on the most famous turntable ever 
produced, the Technics 1210 
£4,729: Price of a new version of Moog's 
iconic Voyager synthesizer 
10,000: Number of records stocked in store 
100,000: Number of records online 
SPECIALITY: Electronica and hip-hop re-issues 
LIVE Q&AS: From the likes of Richie Hawtin, 
Ben UFO and Joy Orbison 

INSIDE: Suitcases displaying vinyl; taxidermy 
(look for the fox smoking a pipe) 

£44.95: Price of a 200-edition vinyl re-release 
of Elvis Presley's hrst ever recording, "My 
Happiness", available in store 
£193,000: Price Jack White reportedly paid for 
a lOin acetate of the original, from which the 
above was made 

21: The number of savoury pies on the menu 
WE LOVE: The hsh and chip pie, made in-store 
BUCKWELL BUTCHERS: Supply the majority of 
the food. Heston Blumenthal is a fan © 

story Will Grice 









TEl.l -^44 207 399 2030 

Please turn the page to view Supplement 


TER 2015 

We serve up 
the season’s 
tastiest styles 

■ V" . 


Jacket, £59.99. 
Jumper, £24.99. 
Trousers, £39.99. 
All by H&M. 

Cover photograph by RhyS FRAMPTON 
Wing wears: Jacket, £149.99. 
Jumper, £29.99. Both by H&M. Shirt, £28. Trousers, £36. 
Both by Topman. 

Vlad wears: Jacket, £149.99. 

Shirt, £19.99. Jumper, £24.99. 
Trousers, £29.99. Belt, £12.99. 

All by H&M. 

Editor-in-chief Dylan Jones 
Editor Robert Johnston 
Creative Director Paul Solomons 
Art Director Phill Fields 
Chief Sub-Editor George Chesterton 
Managing Editor Mark Russell 
Picture Editor Cai Lunn 
Fashion Editor Kirstie Finlayson 
Styiists Gary Armstrong, Dan Blake, 
Grace Gilfeather 

Photographers Matthew Beedle, 

Rhys Frampton, Nicholas Kay, Sun Lee, 
Cameron McNee, Mitch Payne, Pip 

Fashion assistant Brad Green 

©2015 The Conde Nast Publications Ltd. 
All rights reserved. Reproduction in whole 
or in part without permission is strictly 
prohibited. Not to be sold separately from 
the October 2015 issue of GO magazine. 
Printed by Wyndeham Group. Colour 
origination by Tag: Response. 

”1 was recently leafing through an 
American handbook of style. In the 
introduction, the author describes 
picking up a feature in a magazine that 
_l stated how the new rule of dressing 
for the office was that there were no rules. 
His reaction? "It brought tears to my eyes. 
Of laughter." 

The writer is G Bruce Boyer, one of 
the grand old men of American fashion 
(and a one-time employee of our sister 
publication in the US). I normally wouldn't 
question him but I have to say that, in this 
instance, I think he is totally wrong. 

I won't deny that, in my experience, 
men do love a rule to follow when it comes 
to their wardrobe. Indeed, in my capacity 
as GQ's resident Style Shrink, probably 
the most common question I'm asked is 
if it is acceptable to wear brown shoes 
with a navy suit. One time, when I 
(thought I had) answered this online, 

I received a poisonous response by email 
from someone who was incandescent 
with rage that I simply hadn't given a yes 
or no answer. (Interestingly, the man in 
question was an American - make of that 
what you will.) 

But today there really are no rules - 
apart from the Eleventh Commandment: 
"Thou shalt look great". In this latest GQ 
Trends, in association with H&M, we show 
you how to dress down a suit and to dress 
up sportswear. That's the kind of world 
we're now living in - a suit can be dressed 
down with a T-shirt and worn to the pub, 
or a pair of jogging pants can be paired 
with a blazer for a relaxed take on 
workwear. The choice is yours. 

I shall give Mr Boyer the second last 
word, "Most people don't take clothing 
seriously enough, but whether we should 
or not, clothes do talk to us and we make 
decisions based on people's appearances." 

The last word, however, is Orson Welles'. 
"Style is knowing who you are, what you 
want to say, and not giving a damn." 



A/W2015 GQ Trends 1 



Jacket by New Look, 
£29.99. newlook. 
com. Jumper by 

Topman Design, 

Trousers by 

Scotch & Soda, £115. 

6 A/W2015 GQ Trends 

Coat by River Island, 


Jacket by Sandro, 
£790. sandro-paris. 
com. Jumper by 
Trousers by Topman, 



Wing wears 
jacket, £149.99. 
Rollneck, £29.99. 
Both byH&M. Shirt, 
£28. Trousers, £36. 
Both by Topman. 

Vlad wears jacket, 
£149.99. Shirt, 
£19.99. Rollneck, 
£24.99. Trousers, 
£29.99. Belt, £12.99. 
All by H&M. 



Coat by Topman 
Design, £360. 
Rollneck by 
H&M, £29.99. Pyjamas 
by Marks & Spencer, 
£27.50. marksand 

Styling assistant 

Georgia Medley 
Hair and grooming 

Jody Taylor at 
Premier Hair & 
Make-up using Kiehl’s 
Models Vlad 
Blagorodnovat Elite, 
Wing at Next Model 

With thanks to 
the restaurants of 
London’s Chinatown 
and Leicester 
House hotel 

A/W 2015 GQ Trends 11 

Let light into your life this winter with shining examples of the best products and accessories 

Photographs by Matthew BEEDLE Styling by Kirstie EINLAYSON 

1 Sunglasses by Dsquared2, £140. 

2 Scarf by New & Lingwood, £30. At House Of Fraser. 3 Decanter by Riedel, £395. 4 Ring band by Topman, £7.50. topman. 
com. 5 Watch by Nixon, £210. 6 Galaxy 
S6 Edge by Samsung, £610. At Harrods. 

7 Belt by French Connection, £30. french 8 Bow tie by Scotch & Soda, 
£14.95. At John 9 Bangle set 
by Topman, £12. 10 Necessaire de 
Voyage travel case, £80. Eau de cologne, £24. Both 
by Byredo. At Harrods. 11 NuBo 

Perfectionist by NuBo for Men, £50 for 30ml. 12 Charging pad for Samsung Galaxy S6 
Edge. 13 Stan Smith trainers by Adidas, £80. At 
Office, 14 Set of five rings by Topman, 
£14. 15 Icon eau de parfum by Dunhill, 
£55 for 50ml. At John Lewis, 

12 A/W2015 GQ Trends 


1 Pocket square by Scotch & Soda, £15. At John 
Lewis, 2 Bag by Robert Clergerie, 
£335. At 3 Trilby by Topman, 
£22. topman. com. 4 Pour Homme eau de toilette 
by Carven, £50 for 50ml. At House Of Fraser. 5 Watch by Triwa, £149. 6 Watch by Michael Kors, £209. At 
Watch Station International, 

7 Gloves by Zadig & Voltaire, £115. zadig-et-voltaire. 
com. 8 Watch by Emporio Armani, £339. At Watch 
Station International, 9 The 
One For Men eau de toilette by Dolce & Gabbana, 

£48 for 50ml. At 10 Boots 
by H&M, £49.99. 11 Belt by New 
Look, £8. 12 Headphones 
by Urbanears, £50. At Selfridges, selfridges, 
com. 13 Scarf by 7 For All Mankind, £90. 

A/W 2015 OQTrends 13 

1 Hat by H&M, £6.99. 2 Wallet by New 
Look, £7.99. 3 Baseball cap by 
Whistles, £50. whistles. com. 4/5 Gloves by Gant, 
£70. 6 Watch by Boss, £325. 7 Bag by River Island, £45. 8 Scarf by Paul Smith, £125. 9 Socks by Paul Smith, £17. 10 Watch by Boss, £350. 11 Eye Shield by Neville, £24. 12 Blu Mediterraneo Ginepro di 

Sardegna eau de toilette by Acqua Di Parma, £82. 
At Selfridges, 13 Edition 1 Shave Oil 
by Bamford, £30. 14 Shaving soap 
by Penhaligon’s, £36. 15 Scarf by 
Paul Smith, £125. 

14 A/W2015 GQ Trends 


1 Bracelets by Tateossian, £135 each, 

2 Beanie by H&M, £6.99. 3 Technology 
pouch by Cdte&Ciel, £4. 4 Frames 
by Ray-Ban, £128. At David Clulow. 
5 Tie by Baracuta, £64. 6 Dual Action 

Face Wash by Routine For Men, £19 for 100ml. 7 Turnaround Revitalizing 
Serum by Clinique, £37 for 30ml. 

8 Gloves by Paul Smith, £149. 

9 Sisleyouth Hydrating Energizing Early Wrinkles 

by Sisley, £118 for 40ml. 

10 Pure Texture Molding Paste by 
TIGI Bed Head For Men, £10. At Feel Unique. 11 Scarf by Private White VC, 

A/W 2015 OQTrends 15 


Photographs by Cameron McNEE styling by Grace GILEEATHER 

Tailoring doesn’t have to be stuffy, so here’s 
how to dress down when you dress up 

4 . 

Jacket, £169. 
Shirt, £70. Both 
by Remus Uomo. 
Chain by Topman, 


Jacket, £275. 
Trousers, £110. Both 
by Reiss, 
Polo shirt by Next, 
Bag by River Isiand, 
Watch by Larsson 
& Jennings, £345. 

Jacket, £85. 
Jumper, £22. 
Trousers, £45. 
Pocket square, 
£14. All by Next. 

20 A/W2015 GQ Trends 


Jacket £200. 
Trousers, £99. 
Both by Marks 
& Spencer 
com. Rollneck by 
Hugo Boss, £109. 
Shoes by Russell 
& Bromley, £225. 
russellandbromley. Watch by 
Nixon, £100. 


Jacket, £250. Shirt, 
£100. Trousers, 

£175. All by Topman. 

Watch by Nixon, 

A/W2015 OQTrends 23 

Jacket, £55. Shirt, 
£25. Trousers, 
£20. Shoes, £25.^ 

All by New Look. 

2015 ©©Trends 


Jacket, £85. Rollneck, 
£20. Trousers, £40. 
All by Asos. asos. 
com. Watch by 

Larsson & Jennings, 

£345. larssonand 

Styling Assistants 

Holly Roberts and 
Guy Gorman-Powell 
Oliver Woods at 
One Represents 
using Bumble 
and Bumble 
Model Isaac Carew 
at Nevs 



Is your winter wardrobe on the ropes? Dodge the high street and instead 
go one-on-one with H&M’s latest essentials 


From lef^J 
Coat, £119.99. 

£99.99 Tropseipfij 
£39.99. Shirt, 

Tie, £7.99. BelJ^12.g^ 

Waistcoi|r34.9y^ : 
Shirt, £^^. Tifc 
£7.99. Bilf:9fl2.9^' 

Coat, £119. Sh^, ^24.9^’ 
Trousers, £ 2 ^. 99 . Ti^ 
£7.99. Belt,^f2.99fr 

Jacket £49.99 
Shirt, £9.^9. Tie, £7.99- 
Belt, £12.99. 

All clothimg available 
from'^H&^r For you^ 
nearest stockist 
call 0344 736 9000 



Jumper, £29.99. 
T-shirt, £12.99. 
Trousers, £19.99. 

All clothing available 
from H&M. For your 
nearest stockist 
call 0344 736 9000 
or visit 

GQ Promotion 

From left: Jacket, £99.99. Jumper, £24.99. Shirt, £24.99. Trousers, £39.99. Belt, £12.99. Shoes, £79.99. Polo shirt, £7.99. Trousers, £29.99. 
Shoes, £49.99. Shirt, £24.99. Trousers, £39.99. Belt, £12.99. Shoes, £49.99. Backpack, £29.99. 

All clothing available from H&M. For your nearest stockist call 0344 736 9000 or visit 

Hooded sweatshirt, £24.99. Jumper, £14.99. Trousers, £19.99. 

All clothing available from H&M. Foryour nearest stockist call 0344 736 9000 or visit 

GQ Promotion 

Jarrod wears: Jacket, £39.99. Shirt, £24.99. Juliana wears: Rollneck, £29.99. Earrings, £3.99. Ring, £2.99. 
All clothing available from H&M. For your nearest stockist call 0344 736 9000 or visit 

Photographs Diego Merino at Pure Agency. Styling Chris Benns at One Represents. Hair and grooming Keiichiro Hirano at David Artists using Bumble & Bumble 
assisted by Ryo Okada. Emma Miles at David artists using MAC assisted by Andrea Bayliss. Models Jarrod Scott at Modelsl, George Bates at Storm Models, 
Zandre Du Plessis at Elite London, Jamie Kendrick at FM Models and Juliana at Established. 


1 Maverick Sport 
by Victorinox, £329. 
com. 2 Chrono 
Bike 2014 Edition by 
Festina, £285. festina. 
com. 3 Sperulino 
Chrono Plastic by 
Swatch, £76. shop. 4 Toccata 
steel on steel with 
brown dial by 
Raymond Weil, £650. 

5 Intelligent Quartz 
Yacht Racer by 
Timex, £199. timex. 
com. 6 Runway 
by Michael Kors, 

£209. At Watch 
Station International. 

Put some serious thought into your timepiece if you want a watch that’s ready for action 

Photograph by Mitch PAYNE 

A/W2015 OQTrends 35 

Gloves by Next, 


Overcoat by 

River Island, £95. 


Jacket, £95. Jumper, 
£40. Both by River 
Scarf by H&M,£7.99. 

36 A/W2015 GQ Trends 

Grooming Amy Conley, using Bobbi Brown 
and Kiehl’s Since 1851 Model Filip Pusec at PRM 


Coat, £119.99. Jumper, 
£29.99. Both byH&M. Bracelet 
by Topman, £28. 

Coat byH&M, £119.99. Jacket, £200. 
Trousers, £120. Both by 
Banana Republic. 
Shirt by Topman, 

Watch by Michael Kors, 

£229. At Watch 
Station International 
at House Of Fraser. 

Start from your shoes and then work up if you 
want to build the perfect flexible wardrobe 

Photographs by Nicholas KAY Styling by KIrstie FINLAYSON 

Ring by Emporio 
Armani, £79. At Watch 
Station International 
at House Of Fraser. 

From left: bracelet by 
Thomas Sabo, £159. 
Bracelet by Tateossian, 

Eau de toilette by 
PaulSmith, £48. At 
House Of Fraser. 

Tie by Ben Sherman, 


Jeans by H&M, 

Necklace by Topman, 

Belt by Boss, 

Pomade by Patricks, 
£38. At Mr Porter. 

Scarf by River Island, 


Jumper by H&M, 

Shirt byH&M, 

A/W2015 GQTrends 37 

Jacket by Penfield, 
Jumper by COS, £69. 
Rollneck by Sandro, 



Hoodie by Gap XNSF, 
Jacket by 7 For All 
Mankind, £550. 
Jumper by Diesel, 
£130. Shirt 
by Eden Park, £129. 

A/W2015 OQTrends 39 

Tracksuit bottoms by 

Marks & Spencer, £16. 

Hatby H&M, 

Jacket by H&M, £59.99. Jumper by 
Scotch & Soda, £125. At John Lewis, johniewis. 

com. Shirt by Gant, £40. 

4Q A/W2015 OQ Trends 

Trainers by Adidas Originals, £62. At JD Sports, 

Wallet by Ben 
Sherman, £35. 


Gilet by Gant, £225. 
Jacket, £60. Sweatshirt with zip detail, 
£32. Both by Topman. 
T-shirt by H&M, £24.99. 

Wallet by Kenzo, 

Scarf by Whistles, £75. whistles. com 

Tracksuit bottoms by Topman, £34. 

Jacket, £59.99. 
Jumper, £49.99. Both 
by H&M. Shirt 
by Jigsaw, £89. 


Coat by Sandro, £420. 
Jacket by Hilfiger 
Denim, £150. tommy, 
com. Sweatshirt by 
H&M, £29.99., 
Shirt by Topman, £28. 

A/W2015 GQ Trends 43 

Coat by Topman, £65. Jacket by 
Scotch & Soda, £240. At 
Concept Clothing. 
Shirt, £24.99. Jumper, 
£29.99. Both by H&M. 

44 A/W 2015 OQ Trends 

Coat by Uniqlo, £99. Jacket by 
River Island, £60. T-shirt 
by Sandro, £175. 


A/W2015 OQTrends 45 

Blazer by 
Jigsaw, £229. 
jigsaw-online. com. 
Cardigan by Tommy 
Hilfiger, £160. tommy, 
com. Shirt by Gant, 

46 A/W2015 GQ Trends 

Blazer by Topman, 
£65. topman. com. 
Jumper by French 
Connection, £85. 
com. Shirt by 
Victorinox, £85. 

A/W2015 GQ Trends 47 

Blazer (sold as 
part of suit) by 

Diesel Black Gold, 

£860. diesel. com. 
Hooded sweatshirt 
by H&M, £19.99. T-shirt by 

Stone Island, £105. 
Jeans by 7 For All 
Mankind, £190. 
yforallmankind. Trainers 
by Adidas, £70. 

At JD Sports. 

A/W2015 GQ Trends 4^ 


~| 1 n may seem as if every 

young British actor went 
to Eton or Harrow, to par- 
aphrase the Arts Council 
J LI chair Sir Peter Bazalgette 
(who, mind you, was educated at the 
none-too-shabby fee-paying Dulwich 
College). But one of the hothouses of acting 
talent in the UK is located in the rather less 
hallowed northern fringes of Nottingham 

- The Television Workshop. And it can 
sometimes feel like it has supplied actors 
to every cult British him and TV show that 
didn't require a cut-glass accent. 

One such actor is the 28-year-old 
Nottingham native Joe Dempsie. 
"Founded in the Eighties when Central 
Television had studios near Nottingham, 
it started as a focus group to test kids' pro- 
gramming out on real kids," he explains, 
"and then evolved into training the kids 
actually to be in the shows. It gained a 
reputation as the place to go for casting 
directors looking for kids that weren't 
from London and were natural on screen." 

Alumni of the Central Junior Television 
Workshop (as it was then called) are 
impressive and include Jack O'Connell, 
Toby Kebbell and Samantha Morton. "It 
was a unique place to start. You auditioned 
to get in, and if you were good enough 
it was fully subsidised," says O'Connell. 

And in the case of O'Connell and 
Dempsie himself, it led to Skins, the inhu- 
ential E4 drama that followed the lives of 
a group of Bristol teenagers. It was noto- 
rious for its depiction of drug-taking and 
teen sex - and a springboard for a lot of 
the current crop of talented British actors. 
"There was a gap in the market for a show 
about teenagers that featured actors that 
were pretty much the age they were sup- 
posed to be playing," says Dempsie, laugh- 
ing, "not like James Van Der Beek in 
Dawson's Creek or just about everyone in 
The OC. It also seemed to be the hrst show 
of its kind that didn't patronise its audi- 
ence. Yes, there were tales of misbehav- 
iour but they weren't consequence-driven. 
My character was the biggest drug-taker 
of the lot but that wasn't what killed him 

- it was a brain haemorrhage. It didn't 
preach and people identihed with that." 

Dempsie also appeared in the second 
This Is England outing by Shane Meadows, 
storyteller of the dark side of Midlands life. 
Now he is in the third instalment. This Is 
England '90. But he is perhaps best known 
for his role as Gendry in that other great 
crucible of British acting talent. Game Of 
Thrones. "I had no idea about the books 
before I auditioned for the pilot, which was 
about 18 months before they started casting 
for the full series. I auditioned for Jon 
Snow, just like I think half of London did." 

This month he appears in Game Changer, 
a one-off BBC Two drama about the men 
behind Rockstar Games, the company that 
created Grand Theft Auto and Manhunt. 
Dempsie stars alongside Daniel Radcliffe 
and Bill Paxton. "It follows the period in the 
early Noughties when the company comes 
up against Jack Thompson. At the time 
there had been some shootings in the US 
that were blamed on avid players of these 
violent games, and lawyer Thompson 
takes it upon himself to hie massive law- 
suits on behalf of the victims' families." 

Dempsie's big thrill was to work along- 
side Paxton, one of his favourite actors. 
"He's amazing. He's been to the bottom 
of the Atlantic in a submarine to look 
at the Titanic with James Cameron and 
has to be the only person to have been 
killed by a Terminator, Alien and Predator. 
What's not to like?" 

Hoodie by Stone 
Island Shadow 
Project, £140. 
Jumper by H&M, 
Jeans by 7 For 
All Mankind, 


SO A/W2015 GQ Trends 

Jacket by H&M, 
T-shirt by Topman, 
£16. topman. com. 

Chinos by 7 For 
All Mankind, £190. 
yforallmankind. Shoes 
by Ludwig 
Reiter, £579. 

Jacket by H&M, 
Jeans by Uniqlo, 
Maverick Sport by 
Victorinox, £365. 

Whether it’s a windcheater, 
blouson or Harrington, every 
man’s wardrobe needs a 
cropped zipped jacket to 
keep the breezes at bay 

Photographs by Nicholas Kay 

54 A/W2015 GQ Trends 

Photographs Rex; United Artist/The Kobal Collection 



The original Harrington was named after Ryan O'NeaTs character in 
Peyton Place but no man in the history of the world ever wore one 
better than Steve McQueen. Not even Paul Newman... 


Originally made in Stockport, the Baracuta G9 has long been 
a favourite of British tough guys, scooter boys and models - 
as well as Jason Statham. 

Jacket by Baracuta, 
£283. baracuta. com 

Jacket by B< n Sherman, 

£95. bensh 



As shown by Tom Hardy as Ricki Tarr in Tinker Tailor Soldier 
Spy, the classic camel-coloured windcheater is the ultimate 
in stealth style. 

The hrst person to apply for a patent 
for an "Automatic, Continuous Clothing 
Closure" was Elias Howe, the inventor 
of the sewing machine, in 1851. But 
as he was coining it in from his other 
invention he didn't pay much attention 
to the marketing of it so missed the 
chance of making even more millions. 

Then, in 1890, a Chicago-based 
inventor called Whitcomb Judson hrst 
developed a "clasp-locker" and, with a 
few adjustments, in 1896 he registered 
the patent USP 557,207 and the zip 
as we would recognise today was bom. 
Previously in 1893, Judson launched 
the Universal Fastener Company at 
the Chicago World's Fair - which also 
introduced us to the Ferris wheel and, 
rather more gruesomely HH Holmes 
and the concept of the serial killer. 

Astonishingly, Judson enjoyed little 
or commercial success with his invention 
and clothing manufacturers were 
uninterested - partly because it had a 
tendency to break open unexpectedly. 
After various moves the company he 
founded ended up in Hoboken, New 
Jersey, where it became known as the 
Automatic Hook And Eye Company. And 
then the Swedish-American engineer 
Gideon Sundback came on the scene 
and made various improvements until 
in 1913 he came up with the "Hookless 
Fastener Nol (another catchy name). 

The name itself is onomatopoeic - 
and was coined by the BF Goodrich Co 
in 1923 when it included the Sundback 
fastener on a new range of rubber 
boots and referred to the "zipper" 
after the sound it made when used. The 
name stuck. Initially it was mainly used 
on boots and tobacco pouches but by 
the Thirties the fashion industry was 
catching on. Not surprisingly one of 
the hrst areas it gained acceptance was 
in the hy department - one journal 
declared it the "Newest Tailoring Idea for 
Men" and that the zippered hy would 
exclude "the possibility of unintentional 
and embarrassing disarray". 

The company moved to Pennsylvania 
and changed its name to the Talon 
Zipper and continued to dominate the 
zip business throughout the Sixties and 
Sevenhes. Today, however, by far the 
biggest manufacturer in the world is the 
Japanese YKK Group that now controls 
nearly half the zip market worldwide. 
These are mainly manufactured in China 
in Qiaotou, south of Shanghai. The city 
is actually known as the button capital 
of the world as it claims to make almost 
two-thirds of the buttons produced 
globally. This is possibly a misnomer, 
however, as it is even bigger in zips - 
producing 80 per cent of the world's 
zippers (200 milli on metres a year). RJ 

Shaving might be a 
simple, everyday regime, 
but to make sure your 
razor performs takes 
FI levels of research 

Photograph by Matthew BEEDLE 

I — ack in 1989, Gillette came up with the line 
I — ^''The best a man can get", which ranks as 
— ^ one of the most famous advertising 
slogans of all time. The best, however, keeps 
getting better - and more scientihc. And getting 
a close shave can cost eye-watering amounts 
- the Mach 3 was launched in 1998 after Gillette 
had spent around £450m in developing it. 

The latest razor from Gillette is the Fusion 
ProGlide with Flexball, the result of hve years 
of R&D in the company's centre in Reading, 
where all the prototypes globally are produced. 
To make sure it comes up with something 
interesting, Gillette employs 8,000 scientists and 
researchers, who in Reading alone monitor more 
than 20,000 shaves a year - that's 80 men 
shaving hve days a week for a year (with two 
weeks off for good behaviour). 

It is thanks to the bofhns and their guinea 
pigs that it was learned, for example, that the 
optimal horizontal movement of the new 
Flexball is precisely 24 degrees. Any less than 

t that and performance is compromised; any more 
and the skin can be damaged. And some men 
still think that shaving is boring... RJ 

Fusion ProGlide with 
Flexball Technology 
Power Razor, £15. 
Fusion ProGlide with 
Flexball Technology 
Manual Razor, £12. 
Both by Gillette, 


S6 A/W2015 OQ Trends 




Coat, £119.99. Jacket, 
£99.99. Jumper, 
£24.99. Shirt, £24.99. 
Trousers, £39.99. 
Shoes, £39.99. 

All clothing available 
from H&M. For your 
nearest stockist 
call 0344 736 9000 
or visit